Ricky Riccardi

We were saying, you can play that melody tonight in the 21st century, and it sounds fresh, it sounds modern. And so that was a melody that he had written two years earlier, But the main part was this stop time solo. And I think trumpet players and trombonists and guitarists and piano players, they all heard that. And they said, wow, that's how you tell a story.

You know, that's how you really solo. And it's not just arpeggios. It's not just, you know, just playing quick or whatever. It's technical stuff. It's actually got a beginning, middle and an end. And so Cornet Chop Suey was analyzed as this masterpiece of improvisation.

You know, that's how you really solo. And it's not just arpeggios. It's not just, you know, just playing quick or whatever. It's technical stuff. It's actually got a beginning, middle and an end. And so Cornet Chop Suey was analyzed as this masterpiece of improvisation.

You know, that's how you really solo. And it's not just arpeggios. It's not just, you know, just playing quick or whatever. It's technical stuff. It's actually got a beginning, middle and an end. And so Cornet Chop Suey was analyzed as this masterpiece of improvisation.

Until the 1990s, when it was discovered that Armstrong had copyrighted the song two years earlier and he had written down the whole solo note for note. And then in the 1950s, when that record was played for some of his old New Orleans contemporaries, they all said, oh, my goodness, that's Buddy Petit. And Buddy Petit was a cornet player that Armstrong heard and admired when he was a kid.

Until the 1990s, when it was discovered that Armstrong had copyrighted the song two years earlier and he had written down the whole solo note for note. And then in the 1950s, when that record was played for some of his old New Orleans contemporaries, they all said, oh, my goodness, that's Buddy Petit. And Buddy Petit was a cornet player that Armstrong heard and admired when he was a kid.

Until the 1990s, when it was discovered that Armstrong had copyrighted the song two years earlier and he had written down the whole solo note for note. And then in the 1950s, when that record was played for some of his old New Orleans contemporaries, they all said, oh, my goodness, that's Buddy Petit. And Buddy Petit was a cornet player that Armstrong heard and admired when he was a kid.

But Buddy Petit never recorded. He died in 1931, left behind no record. And so to me, Cornet Chop Suey is on surface level. You'll hear it. You know, it's still it sounds modern and fresh and we can still learn a lot from it. But to me, it's also Armstrong serious about his craft, writing down the melody, writing down the solo, showing off the influence of a musician who never got to record.

But Buddy Petit never recorded. He died in 1931, left behind no record. And so to me, Cornet Chop Suey is on surface level. You'll hear it. You know, it's still it sounds modern and fresh and we can still learn a lot from it. But to me, it's also Armstrong serious about his craft, writing down the melody, writing down the solo, showing off the influence of a musician who never got to record.

But Buddy Petit never recorded. He died in 1931, left behind no record. And so to me, Cornet Chop Suey is on surface level. You'll hear it. You know, it's still it sounds modern and fresh and we can still learn a lot from it. But to me, it's also Armstrong serious about his craft, writing down the melody, writing down the solo, showing off the influence of a musician who never got to record.

And, you know, simultaneously forecasting the shape of jazz to come, but also really leaning into his New Orleans roots.

And, you know, simultaneously forecasting the shape of jazz to come, but also really leaning into his New Orleans roots.

And, you know, simultaneously forecasting the shape of jazz to come, but also really leaning into his New Orleans roots.

Sure. So stop time, you know, usually you get the rhythm section is hitting him. The beats on every beat, every quarter note. Well, stop time, they all just focus on the first beat. So it's like one, two, three, four. They hit one note, one accent, and that just lets Lewis, he's out there, you know, without a parachute. He just has to play without that chugging, swinging rhythm section behind him.

Sure. So stop time, you know, usually you get the rhythm section is hitting him. The beats on every beat, every quarter note. Well, stop time, they all just focus on the first beat. So it's like one, two, three, four. They hit one note, one accent, and that just lets Lewis, he's out there, you know, without a parachute. He just has to play without that chugging, swinging rhythm section behind him.

Sure. So stop time, you know, usually you get the rhythm section is hitting him. The beats on every beat, every quarter note. Well, stop time, they all just focus on the first beat. So it's like one, two, three, four. They hit one note, one accent, and that just lets Lewis, he's out there, you know, without a parachute. He just has to play without that chugging, swinging rhythm section behind him.

They're just accenting the first beat of every measure. And it's hard to do that because, you know, you could lose your time. You could lose your equilibrium. The band, they also have to hit that first beat all together on the nose. And it's become a kind of a lost art form in certain circles. But few did it better than the Hot Five.

They're just accenting the first beat of every measure. And it's hard to do that because, you know, you could lose your time. You could lose your equilibrium. The band, they also have to hit that first beat all together on the nose. And it's become a kind of a lost art form in certain circles. But few did it better than the Hot Five.

They're just accenting the first beat of every measure. And it's hard to do that because, you know, you could lose your time. You could lose your equilibrium. The band, they also have to hit that first beat all together on the nose. And it's become a kind of a lost art form in certain circles. But few did it better than the Hot Five.

Oh, my pleasure, Terry. This has been an honor. And, you know, I always have to leave my closing phrase, Pops is tops.