路易斯阿姆斯壯：具有爭議遺產的美國爵士樂偶像

Louis Armstrong, a legendary figure in jazz music, has left a lasting impact on the world of music and culture. Recently, a new album titled 'Louis in London' was released, featuring previously unheard live recordings from his 1968 tour in the UK. This release has reignited discussions about Armstrong's complex career and the duality of his persona. Even decades after his passing, fans and critics continue to debate how to pronounce his name, with some insisting on 'Lewis' while others prefer 'Louie. ' Armstrong himself mentioned that his mother called him 'Lewis,' but many of his friends used the other pronunciation. This ambiguity reflects the multifaceted nature of his character, which has been described by journalist Murray Kempton as a blend of 'the pure and the cheap, clown and creator, god and buffoon. ' The new album sheds light on the contradictions in Armstrong's life and career, showcasing both his musical genius and his penchant for entertainment. The recordings were made during a time when Armstrong was at the height of his popularity, shortly after his iconic song 'What a Wonderful World' topped the charts. However, this period also marked the beginning of his health struggles, as he faced serious heart and kidney issues. Following the tour, Armstrong returned to his home in New York, where he began to reflect on his life and career by cataloging his recordings. He had a particular fondness for the BBC performances, often sharing them with friends and bandmates, and even labeling his personal copy 'for the fans. ' Despite his affection for these recordings, they were only partially released after their initial broadcast. The new album offers a more complete version of the BBC recordings, adding five previously unreleased songs, including an alternative take of 'Hello, Dolly! ' that has been described as 'different, longer, and better' than the original. Ricky Riccardi, the director of research collections at the Louis Armstrong House Museum, played a key role in assembling the album. He believes that the BBC performances were significant for Armstrong, as they represented a moment of reflection for him. Riccardi notes that shortly after the UK tour, Armstrong's health began to decline, and he may have viewed these concerts as his final great performances. Even before his health issues became more serious, Armstrong's live shows could be unpredictable due to lip and dental problems that affected his trumpet playing. However, the London concerts demonstrated that he was still capable of delivering breathtaking moments with his horn, even at an advanced stage in his life. The album also serves as a retrospective of Armstrong's career, featuring a setlist that spans several decades. It includes songs like 'Ole Miss,' which he began playing as a teenager, and 'Rockin' Chair,' which he first recorded in 1929. The setlist also features tracks from the 1930s, 1940s, and 1960s, culminating in his signature hit 'What a Wonderful World. ' This variety highlights Armstrong's evolution as an artist and his ability to connect with audiences across generations. However, the album also raises questions about Armstrong's identity as a performer. Critics have noted the tension between his status as a jazz pioneer and his inclination to entertain the crowd with singing and clowning. Some reviewers expressed disappointment that the emphasis was more on showmanship than on jazz musicianship. Riccardi argues that this has always been a part of Armstrong's performances, as he often included popular songs and comedic elements even in the early stages of his career. Jazz critic Jordannah Elizabeth suggests that the criticisms Armstrong faced stemmed from a misunderstanding of his artistic choices. She explains that some critics imposed rigid definitions of what constituted 'high art' in jazz, which clashed with Armstrong's more accessible and joyful approach to performance. Additionally, Armstrong's stage persona drew from a tradition of minstrelsy that some found controversial. Elements of his performance style echoed the caricatures of white actors in minstrel shows, which were prevalent in American entertainment history. This connection raised eyebrows, especially during the civil rights movement, as some felt that Armstrong's performances perpetuated certain stereotypes. Despite the criticism, Armstrong played a significant role in the civil rights movement, supporting causes and advocating for change. He was known to have donated to Martin Luther King and refused to perform in venues that discriminated against black musicians. Armstrong also used his platform to address social issues, dedicating songs to those affected by the Vietnam War. One of his most famous songs, 'What a Wonderful World,' carries a simple yet profound message about appreciating the beauty of life. While some critics dismissed it as overly sentimental, Armstrong explained that he wanted to encourage people to see the world positively. The complexity of Armstrong's legacy continues to spark debate among musicians and fans alike. Some, like Dizzy Gillespie, recognized that Armstrong's joyful demeanor in the face of adversity was a powerful statement. Others, like Miles Davis, criticized him for conforming to the expectations of white audiences. However, even Davis acknowledged that Armstrong opened doors for many musicians who followed in his footsteps. Today, as we listen to 'Louis in London,' we can hear both sides of Armstrong's story. The album captures the essence of his performances, showcasing his brilliance as a jazz trumpeter while also highlighting his role as a popular entertainer. The tracklist spans fifty years of American history, reflecting Armstrong's status as a pioneer who broke down barriers while also revealing his tendency to navigate complex racial dynamics. Ultimately, 'Louis in London' offers fans a chance to experience Armstrong's music one last time, but it also leaves us with lingering questions about the complexities of his character and the legacy he left behind. The album's sequencing, which features songs where Armstrong sings his own name as both 'Lewis' and 'Louie,' symbolizes the ongoing debate about his identity. The album was released by Verve Records on July 12 and is available on vinyl, CD, and digital platforms.