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Do Nothin’ Till You Hear From MeLouis Armstrong

Do nothin' till you hear from me
Pay no attention to what's said
Why people tear the seams of anyone's dream
Is over my head

Do nothin' till you hear from me
At least consider our romance
If you should take the words of everyone you've heard
I haven't a chance

True, I've been seen with someone new
But does that mean that I'm untrue?
When we're apart the words in my heart reveal
How I feel about you

Some kiss may cloud my memories
And other's arms may hold a thrill
But please do nothing till you hear it from me
And you never will

Do nothin' till you hear from me
Pay no attention to what's said
Why people tear the seams of anyone's dream
Mama, it's over my head

Do nothin' till you hear from me
At least consider our romance
If you should take the words of others you've heard
Mama, I haven't a chance

True, I've been seen with someone new
But does that mean that I'm untrue?
When we're apart, yes, the words in my heart reveal
How I feel about

Some kiss may cloud my memories
And other's arms may hold a thrill
Please do nothing till you hear it from me
Mama, you never will

Louis Armstrong

Louis Armstrong, known throughout his lengthy career by nicknames like “Satchmo”, “Pops” and simply “Louie”, was a trumpeter, composer, singer and occasional actor, as well as one of the most influential figures in the history of jazz.

Born and raised in New Orleans, where jazz itself is alleged to have began, Armstrong started his career in 1918, playing the cornet in brass bands and riverboats along the Mississippi River. There, he caught the attention of his future mentor, King Oliver, joining his band in Chicago, where he networked with other popular jazz musicians like Hoagy Carmichael and his first wife Lil Hardin Armstrong.

In 1924, Louie relocated to New York City playing for the Fletcher Henderson Orchestra. It was at this time he switched over from cornet to trumpet in order to blend in better with the other musicians in his section. It was also when he developed his emotional playing style, which included singing and telling tales of his life back in New Orleans.

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