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ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. She exposed us to many of the blues music pioneers, before we reached grade school. My father Donald is the epitome of a hard-working, self-made man with a never give-up spirit. My committee chair, Dr. Tim Askew’s rare combination of knowledge, skills, patience, and the ability to teach at such a high level were essential to my success. A great deal of indebtedness is owed to the late Dr. Josephine Bradley. My CAU professors, Dr. Viktor Osinubi, Dr. Duncan, Dr. Bryant, our AWH Chair Dr. Evans, and Dr. Daniel Black are all excellent scholars that inspire us to reach greater heights. My wife Lynn deserves more credit than words can express. My children, Nakia, Jamar, David, and Ebony are also great inspirations to me. I deeply appreciate my sisters, Veronica, Katherine, Anna, and Claudine and all my nieces and nephews. My brother David is the best musician I know. My best friend Dave Simon Jr. is always there for me and my family. Deep appreciation also goes to my co-workers, Dr. Marcia Hood, Dr. Florence Lyons, Mr. Minter, Dr. James Hill, and Dr. Marcia Hood. Indeed, Dr. Kenneth Trimmins, Professor Joel Johnson, Dr. DeAnna Weber, and Dr. Mimi Noda were all instrumental in my reaching this milestone. Thanks go to Dr. Curtis Williams and Dr. Joyce Cherry for reading and advising. Edward “Kidd” Jordan continues to be an inspiration to me. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF FIGURES ........................................................................................................... vi CHAPTER I. INTRODUCTION ............................................................................................ 1 Armstrong, Du Bois, and the Interactions between the Period’s Proponents and Detractors .................................................................................3 Early West African Cultural Influences in New Orleans and Subsequently on Louis Armstrong’s and the Period’s Arts ...............................6 The Precursors to “Texas Moaner Blues:” The Impact of the Debate Regarding Black Education on Armstrong’s Early Years and Coming of Age, and the Post World War I Atmosphere in America ............................18 Armstrong’s Improvisational Art Gains Notoriety ..........................................25 The Impact of Blues Music on the Harlem Renaissance .................................35 Criticisms of Armstrong’s Art .........................................................................38 An Unintended Cultural Agglutination ............................................................45 Theoretical Framework ....................................................................................49 Research Methodology ....................................................................................51 II. LITERATURE REVIEW ............................................................................... 53 III. AGITATE OR CREATE: LOUIS ARMSTRONG AND THE ARTISTIC, PHILOSOPHICAL, AND POLITICAL DEBATE DURING THE HARLEM RENAISSANCE ........................................................................... 78 IV. LOUIS ARMSTRONG AND BLUES MUSIC’S IMPACT AS A FUNCTIONAL ART .....................................................................................114 iv CHAPTER V. LOUIS ARMSTRONG, THE NEW NEGRO PHILOSOPHY, AND BLUES MUSIC IN AMERICAN CULTURE ............................................. 152 VI. CONCLUSIONS .......................................................................................... 191 APPENDIX A. Louis Armstrong Discography as a Band Leader 1925 – 1930 .................... 202 B. Louis Armstrong Discography as a Sideman 1923 – 1930 ........................... 205 BIBLIOGRAPHY ........................................................................................................... 214 v LIST OF FIGURES Figure 1. Louis Armstrong’s artistic contributions and interrelated artistic, political, and philosophical events, 1923-1930........................................................2 2. Louis Armstrong’s, Sidney Bechet’s, and Charles Irvis’s rendition of Texas Moaner Blues ...............................................................................................31 3. Louis Armstrong’s opening fanfare to West End Blues .........................................98 4. Louis Armstrong’s improvised solo in West End Blues ......................................104 5. The Mississippi Delta Region where much of American blues music was created ..................................................................................................................115 6. The first chorus of Bessie Smith’s rendition of St. Louis Blues, accompanied by Louis Armstrong .......................................................................137 vi CHAPTER I INTRODUCTION When questioned about the possible relationship or cross influences between Harlem Renaissance writers and musicians, a college professor said any interactions and consequential inspirational art was minimal at best. He surmised that the Harlem Renaissance writers were merely imitating French impressionists, and the canon they produced was sub-par.1 This research challenges that point of view through discourse analysis as well as musical transcriptions and explores the influence of one of the period’s seminal performing artists, Louis Armstrong. His improvisational choices helped ignite a variety of artistic activities during 1923-1930, the period considered here. The reader will note such activity in Figure 1. Contrary to the opinion of the professor, the literary art of Langston Hughes, Countee Cullen, and Zora Neal Hurston, among others, were not celebrated in the context of French imitators but were indicative of the creative energy present in Harlem during the third decade of the twentieth century. In separate camps, visual and performing artists too contributed to the period’s art.2 The genius was in their ability to speak to the soul and essence of the African-American experience. 1. This researcher was enrolled in music as a major course of study at Southern University at New Orleans, and the University of California, Berkeley. 2. David Levering Lewis’s The Portable Harlem Renaissance Reader is an excellent resource in this regard. 1 2 1923 Armstrong records Chimes Blues, improvisational art receives critical acclaim 1924 Booker 1924 1925, Armstrong returns Armstrong records Washington’s The to Chicago, creates the Texas Moaner Blues, Negro Business League Hot Five and Hot Seven joins the Fletcher inspires Black Swan Bands, then returns to Henderson Orchestra, Records created by popularity of blues Harlem W.C. Handy and Harry music rises Pace 1926 1926 Philosophical Debate: George Schuyler Langston Hughes A. Phillip Randolph, writes: The Negro Art- responds: The Negro DuBois, Schuyler, Hokum Artist and the Racial Marcus Garvey, Alain Mountain Locke booThe Negro 1926 Business League 1926-28 W.E.B. Du Bois: (1900).Armstrong 1924 records Black Criteria of Negro Art, BlackSwan and Records Blue, West 1925-30 Alain Locke: Art or End Blues Propaganda Debate created, W.C. Armstrong’s vocal choices transform Handy and Harry American popular Inspired visual artist, Bl CounteePace, black Cullen, music Aaron Douglas and Hughes,entrepreneurs James Weldon others to create with Johnson, Sterling African-American Brown, Zora Neal themes Hurston, literary artists with African-American themes 1929 Schuyler acknowledges 1930 Armstrong records Blue contributions of African- American arts, however Yoddle No. 9 in Los Angeles, CA loathes imitation in Our with “country” music icon, Greatest Gifts to Jimmie Rodgers. America, stock market crashes Figure 1. Louis Armstrong’s artistic contributions and interrelated artistic, political,

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