Although no essay in Shadow and Act focuses on Louis Armstrong (1900-1971) alone, Ellison makes reference to him many times throughout the collection, both as a blues master and as a distinctive type of musical performer. In several instances, but most explicitly in "On Bird, Bird-Watching, and Jazz," Ellison makes the point that although Armstrong's theatrical, joking, and self-deprecating style is clown-like, it is "basically a make-believe role of clown." Although other jazzmen, such as Charlie Parker and Miles Davis, sought to disassociate themselves with the role of such performance in the name of respecting their racial identity, Ellison asserts that Armstrong's strength of lyric and trumpet redeem his performance and make him "an outstanding creative musician."
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In "The Charlie Christian Story," Ellison calls his.....
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