... timbral devices and make his style instantly recognizable. Louis's idiosyncratic mannerisms, adumbrated in his recordings with Oliver and developed in the later 1920's, include descending arpeggio patterns in triplets, so called 'rips' in which a high note is approached by an aggressive glissando, and a rich terminal vibrato colouring sustained notes after the initial attack. His playing in these early years is distinguished by a powerful sense of swing, a characteristic that made him one of the 'hottest' performers of the time. Retuning to Chicago after quitting Oliver's band and playing in Henderson's band, Armstrong formed with his wide the dynamics Hot Five and Hot seven ensembles. The hot five comprised cornet or trumpet, clarinet and trombone as its formidable front line with a rhythm section of piano and banjo. At this time Armstrong started to abandon the 'paraphrase' approach, in which a performer constructed a solo simply by embellishing ...

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