University of Richmond UR Scholarship Repository Music Faculty Publications Music 2003 The Origin of Armstrong's Hot Fives and Hot Sevens Gene H. Anderson University of Richmond,
[email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the African American Studies Commons, American Popular Culture Commons, and the Musicology Commons Recommended Citation Anderson, Gene H. "The Origin of Armstrong's Hot Fives and Hot Sevens." College Music Symposium 43 (2003): 13-24. This Article is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact
[email protected]. The Originof Armstrong's Hot Fives and Hot Sevens Gene Anderson has been almostfifty years since Louis Armstrong'sHot Five and Hot Seven ecordingsof 1925-19281were first recognized in print as a watershedof jazz history andthe means by which the trumpeter emerged as thestyle's first transcendent figure.2 Sincethen these views have only intensified. The Hot Fives and Hot Sevens have come to be regardedas harbingersof all jazz since,with Armstrong's status as the"single mostcreative and innovative force in jazz history"and an "Americangenius" now well beyonddispute.3 This study does notquestion these claims but seeks, rather, to deter- minethe hitherto uninvestigated origin of such a seminalevent and to suggestthat Armstrong'sgenius was presentfrom the beginning of the project. /:Historical Background The seedsof the idea thatgerminated into the Hot Five and Hot Sevenmay have been sownin theearly morning hours of June8, 1923 at theConvention of Applied MusicTrades in Chicago'sDrake Hotel.