The chapter is considering the breakthrough career of Jazz groundbreaking and pop icon Louis Armstrong and the effect of designing Jazz as an unaccompanied art. The chapter is beginning with the curvature of the Louis’s career from New Orleans to New York and Chicago. Also, there are details about his interactions with his hometown music, the new big dance band, the classic blues, and Henderson Fletcher, Bessie Smith ("Chapter 6: Louis Armstrong and the First Great Soloists | Jazz: W. W. Norton Study Space", 2016) . Furthermore, the chapter is moving back to Chicago and Louis’s pioneering hot five and hot seven copies which are breaching the collective improvisation of the older Orleans- style to the New-Orleans design with the latest prominence on soloing by the aid of Pianist Earl Hines (Armstrong & Brothers, 1999) .
The reading is reminding the writer of the numerous ways individual use to satisfy their self-interest. People consider unique options in accessing the limited resources with an aim of meeting themselves. For instance, Louis is borrowing long panties so as to be able to listen to Oliver music in the street.
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The most famous passage in the reading is paragraph six which is explaining the efforts Louis Armstrong takes so as to hear to Oliver band. The passage is important because it reveals the possible way Armstrong is showing determination and concern about the music specifically Oliver music (Brothers, 2006) . Besides, there are numerous ways Louis is connected to the music since he is feeling relieved after the job is coming to an end.
The reading in chapter seven strongly agrees with the text in chapter six because it is addressing the changes in music that is going to new swing style. Besides, the reading is also tracing the origin of Jazz music which is the main discussion in the text of chapter six ("Chapter 6: Swing Bands | Jazz: W. W. Norton Study Space", 2016). The passage in chapter five is strongly disagreeing with the reading because it is addressing the growth of Jazz music beyond the New Orleans and becoming a larger commercial company. The passage is discussing the overall structure of the music business in the 1920’s ("Chapter 5: New York in the 1920s | Jazz: W. W. Norton Study Space", 2016) .
References
Armstrong, L. & Brothers, T. (1999). Louis Armstrong, in his own words . Oxford: Oxford University Press.Brothers, T. (2006). Louis Armstrong's New Orleans . New York: W.W. Norton.
Chapter 5: New York in the 1920s | Jazz: W. W. Norton StudySpace . (2016). Wwnorton.com . Retrieved 19 May 2016, from http://www.wwnorton.com/college/music/jazz/ch/05/outline.aspx
Chapter 6: Louis Armstrong and the First Great Soloists | Jazz: W. W. Norton StudySpace . (2016). Wwnorton.com . Retrieved 19 May 2016, from http://www.wwnorton.com/college/music/jazz/ch/06/studyplan.aspx
Chapter 7: Swing Bands | Jazz: W. W. Norton StudySpace. (2016). Wwnorton.com. Retrieved 19 May 2016, from http://www.wwnorton.com/college/music/jazz/ch/07/outline.aspx
