Ricky Riccardi

Another point that he always wanted to stress, you know, because people would say, oh, you know, the trumpet player, that's the genius. You know, the guy singing and that's kind of he's just doing that, you know, just to commercialize himself. And we put these songs over. But no, I have a quote from Arvel Shaw. I said that if Armstrong never picked up the trumpet, he would have been a singer.

Another point that he always wanted to stress, you know, because people would say, oh, you know, the trumpet player, that's the genius. You know, the guy singing and that's kind of he's just doing that, you know, just to commercialize himself. And we put these songs over. But no, I have a quote from Arvel Shaw. I said that if Armstrong never picked up the trumpet, he would have been a singer.

You know, singing was in his blood more than the trumpet. And it was his real first musical foray in New Orleans before he ever picked up a cornet.

You know, singing was in his blood more than the trumpet. And it was his real first musical foray in New Orleans before he ever picked up a cornet.

You know, singing was in his blood more than the trumpet. And it was his real first musical foray in New Orleans before he ever picked up a cornet.

Yeah, this track literally just turned 100 years old. It was recorded in January 1925. And this was Armstrong, the sideman. He goes to New York to join Fletcher Henderson in October 1924. And OK Records and other labels, Columbia, they start using him as just a studio musician. His name is never on the labels, but people respond to the sound of his trumpet.

Yeah, this track literally just turned 100 years old. It was recorded in January 1925. And this was Armstrong, the sideman. He goes to New York to join Fletcher Henderson in October 1924. And OK Records and other labels, Columbia, they start using him as just a studio musician. His name is never on the labels, but people respond to the sound of his trumpet.

Yeah, this track literally just turned 100 years old. It was recorded in January 1925. And this was Armstrong, the sideman. He goes to New York to join Fletcher Henderson in October 1924. And OK Records and other labels, Columbia, they start using him as just a studio musician. His name is never on the labels, but people respond to the sound of his trumpet.

And this is something he had never really done in New Orleans before, backing up a vocalist. And on some of his early albums,

And this is something he had never really done in New Orleans before, backing up a vocalist. And on some of his early albums,

And this is something he had never really done in New Orleans before, backing up a vocalist. And on some of his early albums,

forays into this he would be a little too busy he might play too many notes or you know kind of step on the singer but by the time he got in the studio in January 25 to back the Empress of the Blues he had kind of perfected his approach and even though she's technically the lead artist singing the vocal and he's supposed to be you know the background figure just playing in and around her I consider a duet every one of his statements is so sensitive he is listening to her he is maintaining the mood and

forays into this he would be a little too busy he might play too many notes or you know kind of step on the singer but by the time he got in the studio in January 25 to back the Empress of the Blues he had kind of perfected his approach and even though she's technically the lead artist singing the vocal and he's supposed to be you know the background figure just playing in and around her I consider a duet every one of his statements is so sensitive he is listening to her he is maintaining the mood and

forays into this he would be a little too busy he might play too many notes or you know kind of step on the singer but by the time he got in the studio in January 25 to back the Empress of the Blues he had kind of perfected his approach and even though she's technically the lead artist singing the vocal and he's supposed to be you know the background figure just playing in and around her I consider a duet every one of his statements is so sensitive he is listening to her he is maintaining the mood and

And, you know, she only gets through W.C. Handy's chorus one time in three minutes, but it is all soul.

And, you know, she only gets through W.C. Handy's chorus one time in three minutes, but it is all soul.

And, you know, she only gets through W.C. Handy's chorus one time in three minutes, but it is all soul.

So Armstrong was born in 1901. I won't get into the whole birthday debate. You know, I believe he was born July 4th, 1901, but for reasons that are explained in the book. But either way, he's born 1901, spends his first few years living with his grandmother. But then around the age of five, he moves to the third ward. Liberty and Perdido streets.

So Armstrong was born in 1901. I won't get into the whole birthday debate. You know, I believe he was born July 4th, 1901, but for reasons that are explained in the book. But either way, he's born 1901, spends his first few years living with his grandmother. But then around the age of five, he moves to the third ward. Liberty and Perdido streets.

So Armstrong was born in 1901. I won't get into the whole birthday debate. You know, I believe he was born July 4th, 1901, but for reasons that are explained in the book. But either way, he's born 1901, spends his first few years living with his grandmother. But then around the age of five, he moves to the third ward. Liberty and Perdido streets.