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The Louis Armstrong House Museum

Louis Armstrong passed away in 1971. His wife, Lucille, continued to live in their home on 107th Street in Corona, Queens, working to ensure that it became a National and New York Historic Landmark. Lucille expressed the desire for the home and archives to become a museum honoring her husband. After Lucille’s passing in 1983, she willed the home and its contents to the city of New York which designated the City University of New York, Queens College to shepherd the process. It took decades, but the archives became accessible in the 90’s, and the historic house opened for public tours in 2003.

Since 2003, this National Historic Landmark has been open to the public weekly for individual and group tours with support provided by the Louis Armstrong Educational Foundation, NYC Department of Cultural Affairs, Queens College/CUNY, and other lead donors and partners.

LAHM is in the midst of a dramatic physical and programmatic transformation marked by the opening of the new Louis Armstrong Center, including a 75-seat performance space, a state of the art multimedia exhibition, and the Armstrong Archival Collections. The Center will allow us to live the Armstrong values of Artistic Excellence, Education and Community through programs such as Armstrong Now!, Voices of Freedom, and Pops is Tops.

For local neighbors, city, national, and international visitors, the new campus will permanently establish Armstrong’s legacy as one of the most influential figures in American and Global History.

Pedro Espinoza: [email protected]

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Louis Armstrong House Museum

20 Oct 2022

About Louis Armstrong House Museum

Located in the former home of Louis Armstrong and his wife Lucille Wilson, the museum dedicated to the Jazz legend houses a vast collection of his personal belongings, including recordings and instruments used by him.

History of the Louis Armstrong House Museum

Born 1901 in New Orleans, Louis Armstrong become one of the most influential and popular artists of the emerging Jazz scene in the early 20th century. His trumpet skills and distinctive voice gathered him fame and fans across the world.

Following his death in 1971, his wife Lucille continued to live in their New York home, working towards making it a historic landmark . She passed away in 1983, giving the premises to the city in her will. The brick house originates from the 1910s and was designed by Robert W. Johnson. It took decades to create the museum, with the City University of New York, Queens College spearheading the project. The Louis Armstrong House Museum was finally opened up to the public in 2003.

The Louis Armstrong House Museum today

The museum consists of items that belonged to Louis Armstrong and those given to the museum by his friends, family and fans. The collections (11 in total) include his records, letters, manuscripts, instruments, furniture, photographs and more. One of the most exceptional exhibit pieces is a 1934 Selmer trumpet and mouthpiece given to Louis by King George V of the United Kingdom . The museum also organises regular events ranging from special movie screenings to garden concerts.

For those unable to visit the premises in person, there are digital collections that can be accessed from the Louis Armstrong House Museum website. They include images of other significant figures in the history of Jazz (for example Billie Holiday and Mary Lou Williams).

Getting to the Louis Armstrong House Museum

The museum can be found at 34-56 107th Street in the Corona neighbourhood of Queens, New York City. The easiest way to get to the site is by taking line 7 on the Subway to the 103 St-Corona Plaza station. From there it is about a 10 minute walk to the museum premises.

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Louis Armstrong House Museum

About the landmark.

One of the world’s most renowned jazz musicians and entertainers; Louis Armstrong lived in this modest Queens home from 1943 until his death in 1971. In 1983, his widow Lucille willed the building and its contents to New York City for the creation of a museum and study center devoted to Armstrong’s career and the history of jazz.

The house is a gem frozen in time, as if the Armstrongs have just stepped out. The museum offers daily guided tours to visitors from around the world and features a variety of programs, including concerts, lectures, and seminars.

The Louis Armstrong House was named a National Historic Landmark in 1976 and a New York City Landmark in 1988.

Plan your visit to the Louis Armstrong House Museum 34-56 107th Street, Corona (Queens), NY – louisarmstronghouse.org

The Conservancy would like to thank the staff at the Louis Armstrong House Museum and our tour guides David Reese, Curator and Jennifer Walden Weprin, Director of Marketing. The Museum is administered by Queens College, City University of New York. Photos courtesy of the Jack Bradley Collection. Photos and audio courtesy of the Louis Armstrong House Museum.

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The Louis Armstrong House, the City’s Most Intimate Museum

By Elizabeth Kolbert

For nearly half his life, Louis Armstrong lived at 34-56 107th Street, in Corona, Queens. When Armstrong and his fourth wife, Lucille, bought the place, in 1943, it was a boxy two-story wooden house in a mostly white neighborhood; today, it is a boxy two-story brick-faced house in an area that is mostly Hispanic. On a recent afternoon, Michael Cogswell, the director of the Louis Armstrong House & Archives, was standing in front of the house, discussing plans for its future. He gestured toward the attached garage, which contained a ladder, an old door, and an assortment of unidentifiable junk. “This is the visitors’ center,” he said purposefully, if prematurely.

Sometime in the next year, the Armstrong house is scheduled to open to the public as the city’s newest and perhaps most intimate museum. Visitors will be invited not just to tromp through the Armstrongs’ kitchen (done from floor to ceiling in turquoise) and poke around their den (panelled in wood, with an early reel-to-reel tape machine) but to take in the bedroom (silver wallpaper with white lilies), and even the master bath. (Armstrong, a lifelong devotee of the laxative Swiss Kriss, had speakers installed in the bathroom so that he could have music piped in from the den.) In addition to the Armstrongs’ furniture, in storage while the house undergoes a $1.6-million restoration, Cogswell is hoping to fill the rooms with everyday objects, like cereal boxes and perfume bottles, circa 1965. “The effect we want to give is that the Armstrongs just stepped out,” he said, standing in the couple’s walk-in closet (papered in what looks like crinkly aluminum foil).

The idea of turning the Armstrong house into a museum has been kicking around ever since Lucille died, in 1983. (Louis died in 1971.) First, though, someone had to go through the contents of the place, a surprisingly laborious task. In addition to being the most celebrated jazz musician of his generation—Dizzy Gillespie once called him “jazz in person”—Armstrong, it turns out, was a collage-maker, a prolific writer, a lover of memorabilia, a home-recording enthusiast, and a pack rat. “We literally have hundreds of hours of tape of Louis and the guys sitting around the dressing room swapping dirty jokes and band stories,” Cogswell said. It took Cogswell, himself a former saxophone player, three years to catalogue the house’s contents, which included six hundred and fifty reels of tape, five thousand photographs, eighty-five scrapbooks, a hundred and twenty gold records and awards, and five gold-plated trumpets, just to name the objects of significance, which are now in the Louis Armstrong Archives, at Queens College.

Then, of course, there was the problem of money. Lucille left the house to the City of New York, intending it to be a memorial to her husband. The city clearly considered the museum a low priority, and, had Cogswell and other supporters not finally succeeded in getting funds for the restoration included in the city’s capital budget just a few months before September 11th, chances are the project would still be on hold.

The other day, as Cogswell gave his house tour, one of the contractors was meeting with one of the project managers in the finished basement (done in shades of quince). In the yard, where the Armstrongs had had a wet bar constructed out of concrete, workers were digging up flagstones and carting around dirt. The garden bathroom, accessible from behind the bar, had just been discovered to have dry rot, and at one point Cogswell was called in to a cramped consultation around the toilet. “That’s the thing about construction projects,” he said. “You never know what you’re going to find.”

Perhaps the most striking thing about the house is how unassuming it is. By the nineteen-fifties and certainly by the sixties, the Armstrongs could have afforded to live just about anywhere in the world. They chose to remain in a not particularly spacious or even attractive house in a middle-class neighborhood, apparently because that was where Louis felt comfortable. (Lucille did once get him to go look at a town house in Manhattan, but, after being mobbed by autograph seekers, he got right back in his car and headed across the bridge.) The modesty of the place may not seem well suited to a museum, but, then again, maybe it is. As Cogswell put it, surveying the house from a tiny porch off Louis’s den, “Here’s one of the great geniuses of Western music, not only of the twentieth century but any century, and he lived like a regular guy, in Corona, Queens.” ♦

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By Ethan Iverson

By David Remnick

By Zach Helfand

By Nicola Twilley

Louis Armstrong

Louis Armstrong was an internationally famous jazz trumpeter, bandleader, and singer known for songs like “What a Wonderful World,” “Hello, Dolly!,” ”Star Dust,” and “La Vie En Rose.”

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Who Was Louis Armstrong?

Jazz musician Louis Armstrong, nicknamed “Satchmo” and “Ambassador Satch,” was an internationally famous jazz trumpeter, bandleader, and singer. An all-star virtuoso, the New Orleans native came to prominence in the 1920s and influenced countless musicians with both his daring trumpet style and unique vocals. He is credited with helping to usher in the era of jazz big bands. Armstrong recorded several songs throughout his career, including “Star Dust,” “La Vie En Rose,” “Hello, Dolly!” and “What a Wonderful World.” Ever the entertainer, Armstrong became the first Black American to star in a Hollywood movie with 1936’s Pennies from Heaven . The legendary musician died in 1971 at age 69 after years of contending with heart and kidney problems.

Quick Facts

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FULL NAME: Louis Daniel Armstrong BORN: August 4, 1901 DIED: July 6, 1971 BIRTHPLACE: New Orleans, Louisiana SPOUSES: Daisy Parker (c. 1918-1923), Lillian Hardin (1924-1938), Alpha Smith (1938-1942), and Lucille Wilson (1942-1971) CHILDREN: Clarence and Sharon ASTROLOGICAL SIGN: Leo

Louis Daniel Armstrong was born on August 4, 1901, in a New Orleans neighborhood so poor that it was nicknamed “The Battlefield.”

He had a difficult childhood. His father was a factory worker and abandoned the family soon after Louis’ birth. His mother, who often turned to prostitution, frequently left him with his maternal grandmother.

Armstrong was obligated to leave school in the fifth grade to begin working. A local Jewish family, the Karnofskys, gave young Armstrong a job collecting junk and delivering coal. They also encouraged him to sing and often invited him into their home for meals.

On New Year’s Eve in 1912, when Armstrong was 11 years old, he fired his stepfather’s gun in the air during a celebration and was arrested on the spot. He was then sent to the Colored Waif’s Home for Boys. It proved to be a pivotal time in his life. There, Armstrong received musical instruction on the cornet and fell in love with music. In 1914, the home released him, and he immediately began dreaming of a life making music.

While he still had to work odd jobs selling newspapers and hauling coal to the city’s famed red-light district, Armstrong began earning a reputation as a fine blues player. One of the greatest cornet players in town, Joe “King” Oliver, began acting as a mentor to young Armstrong, showing him pointers on the horn and occasionally using him as a sub.

In 1918, Armstrong replaced Oliver in Kid Ory’s band, then the most popular band in New Orleans. He was soon able to stop working manual labor jobs and began concentrating full-time on his cornet, playing parties, dances, funeral marches, and at local honky-tonks, a name for small bars that typically host musical acts.

Beginning in 1919, Armstrong spent his summers playing on riverboats with a band led by Fate Marable. It was on the riverboat that Armstrong honed his music reading skills and eventually had his first encounters with other jazz legends, including Bix Beiderbecke and Jack Teagarden.

Influencing the Creation of the First Jazz Big Band

Although Armstrong was content to remain in New Orleans, in the summer of 1922, he received a call from Oliver to come to Chicago and join his Creole Jazz Band on second cornet. Armstrong accepted, and he was soon taking Chicago by storm with both his remarkably fiery playing and the dazzling two-cornet breaks that he shared with Oliver. Armstrong made his first recordings with Oliver on April 5, 1923; that day, he earned his first recorded solo on “Chimes Blues.”

Lillian Hardin, the band’s female pianist whom Armstrong married in 1924, made it clear she felt Oliver was holding Armstrong back. She pushed her husband to cut ties with his mentor and join Fletcher Henderson’s Orchestra, the top African American dance band in New York City at the time.

Armstrong followed her advice, joining Henderson in the fall of 1924. He immediately made his presence felt with a series of solos that introduced the concept of swing music to the band. Armstrong had a great influence on Henderson and his arranger, Don Redman, both of whom began integrating Armstrong’s swinging vocabulary into their arrangements. The changes transformed Henderson’s band into what is generally regarded as the first jazz big band.

However, Armstrong’s southern background didn’t mesh well with the more urban, Northern mentality of Henderson’s other musicians, who sometimes gave Armstrong a hard time over his wardrobe and the way he talked. Henderson also forbade Armstrong from singing, fearing that his rough way of vocalizing would be too coarse for the sophisticated audiences at the Roseland Ballroom. Unhappy, Armstrong left Henderson in 1925 to return to Chicago, where he began playing with his wife’s band at the Dreamland Café.

While in New York, Armstrong cut dozens of records as a sideman, creating inspirational jazz with other greats, such as Sidney Bechet, and backing numerous blues singers, including Bessie Smith .

Back in Chicago, OKeh Records decided to let Armstrong make his first records with a band under his own name: Louis Armstrong and his Hot Five. From 1925 to 1928, Armstrong made more than 60 records with the Hot Five and, later, the Hot Seven.

Today, these are generally regarded as the most important and influential recordings in jazz history. On the records, Armstrong’s virtuoso brilliance helped transform jazz from an ensemble music to a soloist’s art. His stop-time solos on numbers like “Cornet Chop Suey” and “Potato Head Blues” changed jazz history by featuring daring rhythmic choices, swinging phrasing, and incredible high notes.

Armstrong also began singing on these recordings, popularizing wordless “scat singing” with his hugely popular vocal on 1926’s “Heebie Jeebies.” In 2002, all the tapes were preserved in the National Recording Registry.

The Hot Five and Hot Seven were strictly recording groups, however. Armstrong performed nightly during this period with Erskine Tate’s orchestra at the Vendome Theater, often playing music for silent movies. While performing with Tate in 1926, Armstrong finally switched from the cornet to the trumpet.

Armstrong’s popularity continued to grow in Chicago throughout the 1920s, as he began playing other venues, including the Sunset Café and the Savoy Ballroom. A young pianist from Pittsburgh named Earl Hines assimilated Armstrong’s ideas into his piano playing.

Together, Armstrong and Hines formed a potent team and made some of the greatest recordings in jazz history in 1928, including their virtuoso duet, “Weather Bird,” and “West End Blues.” The latter performance is one of Armstrong’s best known works, opening with a stunning cadenza that features equal helpings of opera and the blues. With its release, “West End Blues” proved to the world that the genre of fun, danceable jazz music was also capable of producing high art.

In the summer of 1929, Armstrong headed to New York, where he had a role in a Broadway production of Connie’s Hot Chocolates , featuring the music of Fats Waller and Andy Razaf. Armstrong was featured nightly on Ain’t Misbehavin’ , breaking up the crowds of (mostly white) theatergoers nightly.

That same year, he recorded with small New Orleans–influenced groups, including the Hot Seven, and began recording larger ensembles. Instead of doing strictly jazz numbers, OKeh Records began allowing Armstrong to record popular songs of the day, including “I Can’t Give You Anything But Love,” “Star Dust,” and “Body and Soul.”

Armstrong’s daring vocal transformations of these songs completely changed the concept of popular singing in American popular music, and had lasting effects on many singers who came after him, including Bing Crosby , Billie Holiday , Frank Sinatra , and Ella Fitzgerald .

Armstrong’s 1950 recording of “La Vie En Rose” remains one of his most recognizable vocals. It was notably featured on the soundtrack of the 2008 animated film WALL-E . Other popular songs of his included “Swing That Music,” “Jubilee,” “Struttin’ with Some Barbecue,” and the Grammy-winning “Hello, Dolly!,” his only No. 1 on the Billboard Hot 100. (The chart began in August 1958, well into Armstrong’s career.)

Like his Hot Five and Hot Seven recordings, Armstrong’s 1938 song “When the Saints Go Marching In” and his jazz transformation of Kurt Weill’s “Mack the Knife” from 1956 were enshrined in the National Recording Registry.

Armstrong and Fitzgerald partnered on a collection of duets and made three albums in the second half of the 1950s. The songs include “Makin’ Whoopee,” “Let’s Call the Whole Thing Off,” and “Cheek to Cheek,” originally written for the 1935 film Top Hat starring Fred Astaire . All their duets were released on a four-disc set in 2018 to celebrate Fitzgerald’s 100 th birthday.

One of Armstrong’s most beloved song is “What a Wonderful World,” which the musician recorded in 1967. Different from most of his recordings of the era, the ballad features no trumpet and places Armstrong’s gravelly voice in the middle of a bed of strings and angelic voices. Armstrong sang his heart out on the number, thinking of his home in New York City’s Queens as he did so.

“What a Wonderful World” received little promotion in the United States. The tune did, however, become a No. 1 hit around the world, including in England and South Africa. Eventually, it became an American classic after it was used in the 1986 Robin Williams film Good Morning, Vietnam .

By 1932, Armstrong was known as “Satchmo,” a shortened version of satchel mouth, on account of his large mouth. He had also had begun appearing in movies and made his first tour of England. While he was beloved by musicians, he was too wild for most critics, who gave him some of the most racist and harsh reviews of his career.

Satchmo didn’t let the criticism stop him, however, and he returned an even bigger star when he began a longer tour throughout Europe in 1933. In a strange turn of events, it was during this tour that Armstrong’s career fell apart.

Years of blowing high notes had taken a toll on Armstrong’s lips, and following a fight with his manager Johnny Collins—who already managed to get Armstrong into trouble with the Mafia —he was left stranded overseas by Collins. Armstrong decided to take some time off soon after the incident and spent much of 1934 relaxing in Europe and resting his lip.

Swing That Music

When Armstrong returned to Chicago in 1935, he had no band, no engagements, and no recording contract. His lips were still sore, and there were still remnants of his mob troubles. His wife Lillian was also suing Armstrong following the couple’s split.

He turned to Joe Glaser for help. Glaser had mob ties of his own, having been close with Al Capone . But he had loved Armstrong from the time he met him at the Sunset Café, which Glaser had owned and managed. Armstrong put his career in Glaser’s hands and asked him to make his troubles disappear. Glaser did just that. Within a few months, Armstrong had a new big band and was recording for Decca Records.

With his career back on track, Armstrong set a number of African American firsts. In 1936, he became the first Black jazz musician to write an autobiography: Swing That Music . That same year, he became the first African American to get featured billing in a major Hollywood movie with his turn in Pennies from Heaven , starring Bing Crosby . Armstrong continued to appear in major movies with the likes of Mae West , Martha Raye, and Dick Powell.

In 1937, Armstrong became the first Black entertainer to host a nationally sponsored radio show when he took over Rudy Vallee’s Fleischmann’s Yeast Show for 12 weeks. He was a frequent presence on radio and often broke box-office records at the height of what is now known as the Swing Era.

By the mid-’40s, the Swing Era was winding down, and the era of big bands was almost over. Seeing the writing on the wall, Armstrong scaled down to a smaller six-piece combo, the All Stars, who he performed live with until the end of his career. Personnel frequently changed. Members of the group, at one time or another, included Jack Teagarden, Earl Hines, Sid Catlett, Barney Bigard, Trummy Young, Edmond Hall, Billy Kyle, and Tyree Glenn, among other jazz legends.

Armstrong continued recording for Decca in the late 1940s and early ’50s, creating a string of popular hits, including “Blueberry Hill,” “That Lucky Old Sun,” “A Kiss to Build a Dream On,” and “I Get Ideas.”

Armstrong signed with Columbia Records in the mid-’50s and soon cut some of the finest albums of his career for producer George Avakian, including Louis Armstrong Plays W.C. Handy and Satch Plays Fats .

Armstrong wed four times, the first during his teen years. In 1918, he married Daisy Parker, a sex worker. That commenced a stormy union marked by many arguments and acts of violence that ultimately ended in 1923.

During his first marriage, Armstrong adopted a 3-year-old boy named Clarence. The boy’s mother was Armstrong’s cousin who had died in childbirth. Clarence suffered a head injury at a young age and was mentally disabled for the rest of his life.

Armstrong’s second wife was a fellow musician. Shortly after joining the Creole Jazz Band in Chicago, he started dating the female pianist in the group, Lillian Hardin. They married in 1924 but separated seven years later.

During his marriage to Hardin, Armstrong began a relationship with a young dancer named Alpha Smith. In 1938, Armstrong finally divorced Hardin and married Smith, whom he had been dating for more than a decade. Their marriage was not a happy one, however, and they divorced in 1942.

That same year, Armstrong married for the fourth and final time. He wed Lucille Wilson, a Cotton Club dancer. They remained married until his death in 1971.

Armstrong’s four marriages never produced any biological children. Because he and his wife Lucille had actively tried for years to no avail, many believe him to be incapable of having children.

However, controversy regarding Armstrong’s fatherhood struck in 1954, when a girlfriend that the musician had dated on the side named Lucille “Sweets” Preston claimed she was pregnant with his child. Preston gave birth to a daughter, Sharon Preston, in 1955.

Louis Armstrong, In His Own Words: Selected Writings

Shortly thereafter, Armstrong bragged about the child to his manager Joe Glaser in a letter that was later published in the book Louis Armstrong In His Own Words (1999). Thereafter until his death in 1971, however, Armstrong never publicly addressed whether he was Sharon’s father.

Armstrong’s alleged daughter, who now goes by the name Sharon Preston-Folta, has publicized various letters between her and her father. The letters, dated as far back as 1968, prove that Armstrong had always believed Sharon to be his daughter and that he even paid for her education and home, among several other things, throughout his life. Perhaps most importantly, the letters also detail Armstrong’s fatherly love for Sharon.

In December 2012, Preston-Folta published the memoir Little Satchmo: Living in the Shadow of My Father , Louis Daniel Armstrong , about her relationship and connection with the famous musician.

A DNA test could officially prove whether a blood relationship does exist between Armstrong and Preston-Folta, but if one has been conducted, it hasn’t been publicly shared. However, believers and skeptics can at least agree on one thing: Sharon’s uncanny resemblance to the jazz legend.

When Armstrong’s popularity overseas skyrocketed, it led some to alter his longtime nickname “Satchmo” to “Ambassador Satch.” He performed all over the world in the 1950s and ’60s, including throughout Europe, Africa, and Asia. Legendary CBS newsman Edward R. Murrow followed Armstrong with a camera crew on some of his worldwide excursions, turning the resulting footage into a theatrical documentary, Satchmo the Great , released in 1957.

Although his popularity was hitting new highs in the 1950s, and despite breaking down so many barriers for his race, making him a hero in the Black community, Armstrong began to lose standing with two segments of his audience: modern jazz fans and young African Americans.

Bebop, a new form of jazz, had blossomed in the 1940s. Featuring young geniuses such as Dizzy Gillespie , Charlie Parker , and Miles Davis , the younger generation of musicians saw themselves as artists, not as entertainers. They saw Armstrong’s stage persona and music as old-fashioned and criticized him in the press. Armstrong fought back, but for many young jazz fans, he was regarded as an out-of-date performer with his best days behind him.

The Civil Rights Movement was growing stronger with each passing year, with more protests, marches, and speeches from Black Americans wanting equal rights. To many young jazz listeners at the time, Armstrong’s ever-smiling demeanor seemed like it was from a bygone era. The trumpeter’s refusal to comment on politics for many years only furthered perceptions that he was out of touch.

Armstrong’s previous silence on racial issues changed in 1957, when the musician saw the Little Rock Central High School integration crisis on television. Arkansas Governor Orval Faubus sent in the National Guard to prevent the Little Rock Nine , a group of nine African American students, from entering the public school.

When Armstrong saw this, as well as white protesters hurling invective at the students, he blew his top to the press, telling a reporter that President Dwight D. Eisenhower had “no guts” for letting Faubus run the country. “The way they are treating my people in the South, the government can go to hell,” Armstrong said.

His words made front-page news around the world. Although he had finally spoken out after years of remaining publicly silent, he received criticism at the time from both Black and white public figures. Not a single jazz musician who had previously criticized him took his side, but today, this is seen as one of the bravest, most definitive moments of Armstrong’s life.

Armstrong continued a grueling touring schedule into the late ’50s, and it caught up with him in 1959 when he had a heart attack while traveling in Spoleto, Italy. The musician didn’t let the incident stop him, however. After taking a few weeks off to recover, he was back on the road, performing 300 nights a year into the 1960s.

Armstrong was still a popular attraction around the world in 1963 but hadn’t made a record in two years. That December, he was called into the studio to record the title number for a Broadway show that hadn’t opened yet, Hello, Dolly!

The record “Hello, Dolly!” was released in 1964 and quickly climbed to the top of the Billboard Hot 100, hitting the No. 1 slot in May 1964. The chart-topper even dethroned The Beatles at the height of Beatlemania. It also earned Armstrong his only Grammy Award for Best Male Vocal Performance.

This newfound popularity introduced Armstrong to a new, younger audience, and he continued making both successful records and concert appearances for the rest of the decade, even cracking the Iron Curtain with a tour of Communist countries such as East Berlin and Czechoslovakia in 1965.

By 1968, Armstrong’s grueling lifestyle had finally caught up with him. Heart and kidney problems forced him to stop performing in 1969. That same year, his longtime manager, Joe Glaser, died. Armstrong spent much of that year at home but managed to continue practicing the trumpet daily.

Armstrong restarted his public performances by the summer of 1970. After a successful engagement in Las Vegas, Armstrong began taking engagements around the world once more, including in London; Washington, D.C.; and New York City, where he performed for two weeks at the Waldorf-Astoria.

Two days after the Waldorf gig, Armstrong had a heart attack that sidelined him for two months. He returned home in May 1971, though he soon resumed playing again. He promised to perform in public once more, but it was a promise he couldn’t keep.

Armstrong he died in his sleep on July 6, 1971, at his home in the Queens borough of New York City. He was a month shy of his 70 th birthday.

Since his death, Armstrong’s stature has only continued to grow. His Queens home at 34-56 107th Street in Corona, New York was declared a National Historic Landmark in 1977. He and his wife Lucille moved into the home in 1943 after she convinced him to purchase a house. Today, the building is home to the Louis Armstrong House Museum , which annually receives thousands of visitors from all over the world.

In the 1980s and ’90s, younger Black jazz musicians like Wynton Marsalis, Jon Faddis, and Nicholas Payton began speaking about Armstrong’s importance, both as a musician and a human being.

A series of biographies on Armstrong made his role as a civil rights pioneer abundantly clear and, subsequently, argued for an embrace of his entire career’s output, not just the revolutionary recordings from the 1920s.

Louis Armstrong Stadium, part of the Billie Jean King National Tennis Center that annually hosts the U.S. Open in New York City, is named in his honor.

• The memory of things gone is important to a jazz musician.
• If you have to ask what jazz is, you’ll never know.
• All music is folk music. I ain’t never heard a horse sing a song.
• The colors of the rainbow, so pretty in the sky, are also on the faces of people going by.
• The bright blessed day, the dark sacred night. I think to myself, what a wonderful world.
• Seems to me it ain’t the world that’s so bad but what we’re doing to it, and all I’m saying is: see what a wonderful world it would be if only we’d give it a chance. Love, baby—love. That’s the secret.
• We all do “do re mi,” but you have got to find the other notes yourself.
• Making money ain’t nothing exciting to me. You might be able to buy a little better booze than the wino on the corner. But you get sick just like the next cat, and when you die, you’re just as graveyard dead as he is.
• What we play is life.

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Inside the Meticulously Maintained Home of Jazz Legend Louis Armstrong

By Corynne Cirilli

The kitchen is perhaps the favorite room of visitors, with its turquoise lacquered cabinets

While no one has lived in the home since Lucille's death in 1983 (Louis Armstrong passed in 1971), all the appliances still operate.

Items such as the couple's vacuum cleaner even remain in the house.

Guided tours come with the price of admission, as does audio recorded by Armstrong himself through his lifetime, and both tell stories of the couple's day-to-day life together in the home.

By Katherine McLaughlin

By Perri Ormont Blumberg

By John Wogan

The home (and couple) was considered very stylish for its time, with unexpected patterns and designs in many rooms. An example of this can be seen in the mirrors in the master bath.

A dresser that was used by Louis and Lucille Armstrong would be a work of art even by today's standards.

The master bedroom, slightly more feminine than many of the other rooms in the home, such as the living room and study, seems as if the couple will be returning at any moment.

Another view of the master bedroom highlights the patterned walls that were popular throughout the Queens home.

Louis Armstrong's personal office with wood-paneled walls and stylish midcentury club chairs.

The garden area of the home is open to those who visit the museum, and can be utilized before or after the tour.

By Morgan Goldberg

By Vaishnavi Nayel Talawadekar

By Elizabeth Stamp

By Zoë Sessums

Simply Queens

Louis Armstrong House Museum: A Jazz Legacy Tour

Step into the vibrant world of jazz heritage at the Jazz icon home of Louis Armstrong. The Louis Armstrong House Museum is more than just a cultural landmark; it’s a journey through the history of …

Step into the vibrant world of jazz heritage at the Jazz icon home of Louis Armstrong. The Louis Armstrong House Museum is more than just a cultural landmark ; it’s a journey through the history of New York jazz and an intimate encounter with the life of Satchmo himself. Nestled in the heart of Queens, Satchmo’s residence welcomes visitors to immerse themselves in the authentic atmosphere where the legendary musician shared his most private moments. Experience the carefully preserved rooms, brimming with personal mementos that offer a profound exploration into Armstrong’s personal and professional life.

Embrace the opportunity to walk through the same halls where Armstrong’s laughter once echoed and where his groundbreaking music continues to resonate. Discover why this home is not just a stop on your itinerary, but a precious portal into the soul of African American culture and the timeless narrative of one of jazz’s most influential figures.

Key Takeaways

• Delve into the life of a jazz legend at the historic residence of Louis Armstrong.
• Engage with New York jazz heritage at a site filled with intimate stories and artifacts.
• Appreciate the significance of a cultural landmark that celebrates Satchmo’s enduring legacy.
• Visit a national treasure where Armstrong’s influence on music and culture is palpably honored.
• Experience a touchstone of history, dedicated to preserving the vibrant spirit of jazz for all.

Exploring the Roots: The Significance of the Louis Armstrong House

The sanctuary of jazz great’s home , the Louis Armstrong House, stands as a poignant testament to the life and times of the man fondly known as Satchmo. Beyond being a mere structure, this historic site serves as a beacon for cultural preservation , encapsulating the spirit of music history and Satchmo’s legacy . The essence of Armstrong’s character, interwoven with his stellar career, is meticulously preserved within these walls.

A Glimpse into Satchmo’s Life

For those enamored by the vibrant allure of jazz, a visit to the Armstrong residence is akin to stepping through a portal into the past. The halls echo the tales of Armstrong’s humble beginnings and the immeasurable impact he had on the world of music. It’s here, among his personal effects and in the midst of his lovingly maintained living spaces, that one truly comprehends the man behind the trumpet.

Preserving Jazz History for Future Generations

Dedication to retaining the integrity of this cultural landmark is evident in every corner of the Louis Armstrong House. Organizations like the Louis Armstrong Educational Foundation play a pivotal role in this crusade, ensuring that Satchmo’s contributions to the arts—and the joy emanating from his life’s work—remain accessible for posterity.

The House as a National Historic Landmark

Bestowed with the honor of a National Historic Landmark, the Louis Armstrong House ushers visitors on an educational journey rich with historical value. The designation is not merely an accolade but a commitment to the stewardship of a site that encapsulates the very heart of America’s jazz heritage, fostering a deeper appreciation for Satchmo’s indelible footprint in the realm of music.

What to Expect on Your Visit to the Louis Armstrong House Museum

Enthusiasts of jazz and history alike can immerse themselves in the rich tapestry of Louis Armstrong’s legacy through the vibrant offerings at the Louis Armstrong House Museum . Visitors are treated to an intimate glimpse into the life of the jazz luminary through guided museum tours , meticulously curated jazz exhibits , a comprehensive collection of Armstrong memorabilia , and interactive music exhibits that bring the rhythm and soul of Armstrong’s era to life.

Guided Tours: Walking in Armstrong’s Footsteps

Guided tours at the museum offer an insightful journey through Armstrong’s personal abode, led by knowledgeable guides versed in the intricate details of his life and musical journey. Each room tells a story, imbuing visitors with the essence of Satchmo’s personality and creative spirit. These narrations are not just educational; they are personal tales that echo the heartbeat of Armstrong’s contribution to jazz.

Exhibits and Collections: Louis’s Legacy on Display

The walls of the museum are adorned with an array of precious Armstrong memorabilia , including personal belongings, original photographs, and even his very own trumpets. These jazz exhibits offer an unprecedented look at the icons of a musical movement. Visitors can pore over rare recordings, intimate letters, and performance outfits, each piece contributing to the jigsaw puzzle of Armstrong’s monumental influence.

Interactive Elements: Experiencing Music History First-Hand

Dynamic and engaging, the museum’s interactive music exhibits actively involve visitors in the learning experience. Listening stations, archival videos, and hands-on displays allow enthusiasts to interact with the history they are discovering. These interactive spaces are designed to deepen the understanding and appreciation of Armstrong’s work and the jazz genre overall, inviting a sensory connection to the culture he perpetuated.

A visit to the Louis Armstrong House Museum is more than an outing; it’s an opportunity to walk through the annals of jazz history, to stand within the preserved walls of a giant’s home, and to partake in a legacy that reverberates through generations.

The Architectural Marvel of Louis Armstrong’s Home

The indelible charm of historical architecture unfolds within the walls of Louis Armstrong’s Queens home , a testament to a rich cultural past and the timeless allure of unique home design . This bastion of jazz history is much more than a museum; it’s a living, breathing example of mid-century modern artistry seamlessly interwoven with the personal style of one of America’s greatest musical icons.

Preservation experts laud the property not only as Armstrong’s personal sanctuary but also as a public space that hosted countless luminaries. Interviews with those involved in its conservation reveal stories of Armstrong’s dual life—his private world within this haven and the memorable gatherings that this place witnessed.

Armstrong’s Queens home stands as an embodiment of his spirit, where historical documents attest to the deliberate choices that fashioned an interior replete with innovative designs and luxurious comforts of its era. The house, today preserved in all its glory, opens a window to Armstrong’s behind-the-scenes life, allowing visitors to glean a sense of the man behind the trumpet.

• Meticulously curated mid-century modern details
• Interior decoration reflective of Armstrong’s distinctive taste
• An intricate layout conducive to both relaxation and vibrant soirees

Its architecture and design elements mirror the innovation and elegance Armstrong brought to jazz, making the house an essential destination for lovers of music, history, and architecture alike. This is where the vibrancy of Armstrong’s legacy is enshrined, not just through the notes he played but through every carefully appointed space that made up his beloved home.

The Louis Armstrong House Museum Programs and Events

The Louis Armstrong House Museum is a nexus for jazz education programs and vibrant cultural engagements. It stands in celebration of Armstrong’s remarkable contribution to the world of jazz, offering visitors a suite of activities that resonate with the pulse of this dynamic music genre. Each program is thoughtfully designed to immerse attendees in the rich tapestry of jazz history and to honor the museum’s namesake through music workshops , live performances, and unique cultural experiences.

Educational Outreach: Workshops and Lectures

Fulfilling the educational aspect of its mission, the museum conducts interactive workshops and lectures for jazz enthusiasts of all ages. These jazz education programs are tailored to inspire and educate students, aspiring musicians, and the general public about the history of jazz, its evolution, and technical nuances.

• Music Theory and Improvisation Workshops
• History of Jazz Lecture Series
• Instrumental Masterclasses by Renowned Jazz Musicians

Live Performances & Jazz Concerts

Nothing captures the essence of jazz better than live jazz events . The museum frequently hosts celebrated jazz artists who perform in the intimate setting reminiscent of Armstrong’s own performances. These concerts not only showcase the museum as a venue for superb live music but also as a community space for sharing and experiencing the joy of jazz.

Experience the vibrancy of jazz under the same roof that housed a legend.

Special Seasonal Events

Marking distinct times of the year, the museum presents a series of cultural museum experiences that engage local communities. From holiday-themed jazz fests to commemorative anniversaries of Armstrong’s significant milestones, these events create memorable experiences that resonate with attendees long after they’ve concluded.

• Louis Armstrong’s Birthday Celebration
• Annual Jazzmobile Block Party
• Winter Holidays Family Jazz Concert

Inside the Louis Armstrong Archives: A Treasure Trove for Jazz Lovers

The Louis Armstrong House Museum is not only a celebration of Armstrong’s music and life but also the home of the expansive Jazz archives . These archives house an invaluable collection of Armstrong personal papers , offering unparalleled insight into the legend’s personal moments and professional milestones. Lovers of history, music, and jazz come from far and wide to engage in historical research within the walls that echo Armstrong’s legacy.

Jazz researchers and aficionados alike revel in the opportunity to examine musical artifacts and original manuscripts that once belonged to Armstrong. Each piece offers a tangible connection to the past, leaving visitors in awe of the rich history contained within.

“Exploring the Armstrong archives is akin to stepping back in time and witnessing the evolution of jazz unfold before your eyes. It is a deeply moving and educational experience that sits at the heart of our cultural history.” – Museum staff

Here, every document and object tells a story, be it through the grooves of a well-played trumpet or the scribbles on a music sheet. It is these stories that contribute to the full narrative of jazz and its most celebrated artists.

The Louis Armstrong Archives not only foster admiration for this jazz icon; they serve as an imperative resource for musical education and research . Delving into these archives is essential for anyone devoted to understanding jazz history and Armstrong’s indelible impact on the art form. It’s here that the ribbon of Armstrong’s narrative weaves through the fabric of American music culture, waiting to be discovered and appreciated anew by each visitor.

Visiting Tips and Information for the Louis Armstrong House Museum

Whether you’re a jazz aficionado or a curious traveler, a visit to the Louis Armstrong House Museum in Queens can be a highlight of your trip. To enhance your experience, we’ve compiled essential visitor tips and travel information to make your excursion as enjoyable as possible, complete with group tours suggestions and not-to-miss nearby Queens attractions .

Best Times to Visit and How to Get There

For those looking to avoid larger crowds, early weekdays are generally less busy. The museum is most vibrant during Louis Armstrong’s birthday in July and during jazz events throughout the year. Planning your visit around these times can provide a deeper, immersive experience.

Located at 34-56 107th Street in Corona , Queens, the museum is accessible via public transportation— take the 7 Subway line to the 103rd Street-Corona Plaza stop and follow the signs leading to the museum. If driving, parking is available in the vicinity.

Admission Fees and Group Visit Options

The museum offers a range of admission fees for adults, students, seniors, and children, with special discounts for groups. If you’re organizing a group tour , be sure to book in advance to receive tailored services such as dedicated tour guides and educational materials.

Nearby Attractions: Making the Most of Your Trip

Complement your trip to the museum with a visit to nearby attractions. The Flushing Meadows-Corona Park, the Queens Museum, and the New York Hall of Science are all within close proximity and offer diverse cultural experiences . Consider the following recommended stops to round out your Queens attractions itinerary:

• Flushing Meadows-Corona Park for outdoor activities and historic sites
• The Queens Museum for its famed panorama of the city
• The New York Hall of Science for interactive science exhibits

The Louis Armstrong House Museum is not merely a structure; it serves as a vibrant embodiment of Louis Armstrong’s impact on the world of music and beyond. Every room, artifact, and story within its walls unite to narrate the extraordinary tale of a man whose influence reverberates through the very essence of jazz tradition. This must-visit jazz history site offers more than history—it presents an intimate experience, connecting us to the heart of Armstrong’s greatness and encouraging the preservation of a glorious, musical narrative.

Through its immersive tours, educational programs, and celebratory events, the museum plays a pivotal role in preserving jazz tradition , ensuring that Satchmo’s monumental legacy continues to inspire generations. The emotional and inspirational influence articulated in visitor feedback highlights the museum’s success in making Armstrong’s story tangible and profoundly impactful to those who walk through his home. The enduring resonance of Armstrong’s life and work is a testament to the museum’s commitment to educational excellence and cultural preservation .

In looking ahead, the museum not only cherishes the past but also paves the way for a sustainable future for jazz culture. By supporting the museum’s mission, we partake in celebrating the timeless legacy of one of music’s greatest icons. There’s no overestimating the value of such a place where one can step back in time and emerge to echo the sentiment: Louis Armstrong’s legacy is indeed a treasure to behold and a story to be continued through each of us.

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Jamaica Performing Arts Center: Culture Hub

Vander ende-onderdonk house: historic gem.

• Plan your visit
• Group tours
• The Louis Armstrong Center
• Louis Armstrong
• Museum collections
• On-Site Research
• Digital Collections
• Virtual Exhibits
• Here To Stay
• Our Partners
• Armstrong Now
• Global Ambassadors
• Mapping Jazz and Hip-Hop in Queens
• Voices of Freedom

This was Louis’s “man cave,” a room where he could write letters, make reel-to-reel tapes and entertain friends and guests, including Queens neighbors Dizzy Gillespie and Clark Terry.

The striking blue kitchen was installed in 1970 and has become a favorite of many visitors. A lot of red beans and rice were cooked on that custom-made Crown stove!

Living Room

The “international room” of the Armstrong House is filled with possessions picked up from the Armstrongs’ world travels, in addition to vivid paintings of both Louis and Lucille.

Growing up with an outhouse in the backyard of his New Orleans home, Louis must have felt like he really made it in this mirrored bathroom with gold fixtures.

Louis was always proud to tell people about his “wall-to-wall” king size bed in his and Lucille’s private sanctuary.