Louis Armstrong's aura was one of happiness—like he knew something the rest of us didn’t.
. If the film is what he thinks it is, and what the jazz scholar Dan Morgenstern agrees it is, and what the Armstrong biographer and Louis Armstrong House Museum curator Ricky Riccardi says he’s almost sure it is, then it may be the most significant finding of Armstrongalia in more than thirty years.
At least, I think so. I’ve watched it a half-dozen times. Karst has done more than that. He’s hired a graphics expert to measure the boy’s features and compare them to later images of Armstrong as a man. He’s contacted all of the best-known Armstrong experts and—despite a few hedges—he’s found the closest thing he’ll likely find to consensus. “I do think this is indeed our man,” Morgenstern, the jazz scholar and friend of Pops, wrote to Karst in an e-mail.
Getty Images, which has featured the film on its Web site since 2007, has yet to verify its provenance, except to say that it was shot in New Orleans around 1915. It’s unclear exactly why cameramen would be collecting B-roll images of that particular corner downtown. A big hurricane hit the city that year, but the buildings in the film appear unscathed., an afternoon paper that later merged with the,” in the microfilmed stacks of theor in any newspaper of the time.
“I came up the Hard way, same as lots’ of people,” Armstrong wrote in 1970, a year before he died. But in all the stories he told about his childhood—and he had plenty—he didn’t equate “hard” with “unhappy.” No doubt, he could fib. He claimed to be born on the conveniently historic date of July 4, 1900, though a baptismal record shows his actual birth date as thirteen months later. But no amount of scholarly digging has upended or undermined that bright and apparent tendency toward happiness.
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