section_path: Music/Colleagues and followers
section_name: Colleagues and followers
paragraph_text: Colleagues and followers
  
  During his long career, Armstrong played and sang with some of the most important instrumentalists and vocalists of the time, including Bing Crosby, Duke Ellington, Fletcher Henderson, Earl Hines, Jimmie Rodgers, Bessie Smith, and Ella Fitzgerald. His influence upon Crosby is particularly important with regard to the subsequent development of popular music. Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931). The New Grove Dictionary of Jazz describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:
  
  Crosby... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech... His techniques—easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text—were emulated by nearly all later popular singers.
  
  Armstrong recorded two albums with Ella Fitzgerald, Ella and Louis and Ella and Louis Again, for Verve Records. The sessions featured the backing musicianship of the Oscar Peterson Trio with drummer Buddy Rich on the first album and Louie Bellson on the second. Norman Granz then had the vision for Ella and Louis to record Porgy and Bess.
  
  Armstrong's two recordings for Columbia Records, Louis Armstrong Plays W.C. Handy (1954) and Satch Plays Fats (all Fats Waller tunes) (1955), were both considered masterpieces, as well as moderately well selling. In 1961, the All-Stars participated in two albums, The Great Summit and The Great Reunion (now together as a single disc) with Duke Ellington. The albums feature many of Ellington's most famous compositions (as well as two exclusive cuts) with Duke sitting in on piano. Armstrong's participation in Dave Brubeck 's high-concept jazz musical The Real Ambassadors (1963) was critically acclaimed and features "Summer Song", one of Armstrong's most popular vocal efforts.
  
  In the week beginning May 9, 1964, Armstrong's recording of the song " Hello, Dolly! " went to number one. An album of the same title was quickly created around the song, and also shot to number one, knocking The Beatles off the top of the chart. The album sold very well for the rest of the year, quickly going "Gold" (500,000). His performance of "Hello, Dolly!" won for best male pop vocal performance at the 1964 Grammy Awards.