Editing Louis Armstrong (section)

===Emerging as a vocalist===
Armstrong returned to New York in 1929, where he played in the pit orchestra for the musical ''[[Hot Chocolates]]'', an all-black revue written by [[Andy Razaf]] and pianist [[Fats Waller]]. Armstrong made a cameo appearance as a vocalist, regularly stealing the show with his rendition of "[[Ain't Misbehavin' (song)|Ain't Misbehavin']]." Armstrong's version of the song became his biggest-selling record yet.<ref>{{cite web |url=http://www.redhotjazz.com/lao.html |title=Louis Armstrong & his Orchestra |publisher=Redhotjazz.com |access-date=August 17, 2009 |archive-url=https://web.archive.org/web/20130116083427/http://www.redhotjazz.com/lao.html |archive-date=January 16, 2013 }}</ref>

Armstrong started to work at [[Connie's Inn]] in Harlem, chief rival to the [[Cotton Club]], a venue for elaborately staged floor shows,<ref name=morgenstern>{{citation|last=Morgenstern|first=Dan|author-link=Dan Morgenstern|contribution=Louis Armstrong and the Development and Diffusion of Jazz|title=Louis Armstrong: A Cultural Legacy|editor-first=Marc H.|editor-last=Miller|publisher=Queens Museum of Art in association with University of Washington Press|year=1994|page=110}}</ref> and a front for gangster [[Dutch Schultz]]. Armstrong had considerable success with vocal recordings, including versions of songs composed by his old friend [[Hoagy Carmichael]]. His 1930s recordings took full advantage of the RCA [[ribbon microphone]], introduced in 1931, which imparted warmth to vocals and became an intrinsic part of the "[[crooning]]" sound of artists like [[Bing Crosby]]. Armstrong's interpretation of Carmichael's "[[Stardust (1927 song)|Stardust]]" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that were already standards.

Armstrong's radical re-working of [[Sidney Arodin]] and Carmichael's "[[Lazy River]]", recorded in 1931, encapsulated his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo. Then, the main melody is introduced by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh"..."Sure"..."Way down, way down." In the first verse, Armstrong ignores the notated melody and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza, he breaks into an almost entirely improvised melody, which then evolves into a classic passage of Armstrong's scat singing.

As with his trumpet playing, Armstrong's vocal innovations served as a foundation for jazz vocal interpretation. The uniquely gravelly coloration of his voice became an archetype that was endlessly imitated. Armstrong's scat singing was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" greatly influenced younger white singers such as Bing Crosby.