Satchmo beyond the smile

The image most of us have of Louis Armstrong is that of the trumpeter and singer with a broad smile, a raspy voice, and a piercing trumpet who practically symbolizes jazz. The documentary Louis Armstrong's Black & Blues reaffirms this image, but adds less celebrated dimensions of Satchmo – or

Pops, whatever you want to call them. 

Narrating Louis's life and career in a more or less chronological order, director Sacha Jenkins traces his origins back to the poor neighborhoods of New Orleans, where the family's diet consisted of fish heads and cabbage sandwiches. Music emerged during his time in an orphanage. When he left and began playing in clubs, racial segregation prevented him from sitting at the table with the audience after the shows. This is how the rebellious Satchmo was born, refusing to play where he couldn't also feel comfortable.

A rebellion that would prove more individual than collective. Louis was heavily criticized for not engaging in the fight for civil rights, preferring to contribute with donations and sparing his precious mouth from being beaten up in marches and protests. His always smiling and positive demeanor (oh, yeah!) earned him accusations of surrendering to the status quo. status quo racist of his time.

This political caution occupies a significant part of the documentary, but not as much as what is actually interesting about the "US ambassador with a trumpet." Louis appears being interviewed by Orson Welles and Dick Cavett, as well as in various home recordings that he himself stubbornly made on reels and reels of tape. The film embraces this autobiographical legacy, alongside laudatory references from musicians such as Artie Shaw, Wynton Marsalis, Leonard Feather, and Archie Shepp. 

Key milestones in Louis's career include the invention of scat singing...the mournful versions of the US national anthem, the charismatic performances before the public, the trip to "Mother Africa," the heart problems that ultimately cost him his life, and the declarations of love for Lucille Armstrong, his fourth and longest-lasting wife. Some film scenes punctuate a cinematic presence spanning approximately 30 fictional titles.

The documentary compiles many characters and pieces of information that demand close attention, especially from those unfamiliar with jazz from the 1930s to the 1960s. The extensive use of collages somewhat clutters the film's visuals, in exchange for adding some charm and agility.  

A remarkable account from actor Ossie Davis illustrates the possible drama behind Satchmo's expansive persona. On one occasion, Davis surprised him distracted, staring blankly into space with the saddest expression in the world. Upon noticing someone's presence, he promptly broke into a huge grin, as if suddenly regaining his composure. person Regular public opinion. Materials like this are capable of illuminating a personality more effectively than an avalanche of data.

>> Louis Armstrong's Black & Blues It's on the Apple TV platform.

The trailer: