Ricky Riccardi

And so he would come home, he would sleep for maybe an hour, then put on a pair of long pants and then go out and play the cornet maybe until 4 in the morning. sleep one or two hours and do it again. So that's part of his childhood. The Kronofsky family, though, he always gave them credit. He said they treated him like a human being.

And so he would come home, he would sleep for maybe an hour, then put on a pair of long pants and then go out and play the cornet maybe until 4 in the morning. sleep one or two hours and do it again. So that's part of his childhood. The Kronofsky family, though, he always gave them credit. He said they treated him like a human being.

And so he would come home, he would sleep for maybe an hour, then put on a pair of long pants and then go out and play the cornet maybe until 4 in the morning. sleep one or two hours and do it again. So that's part of his childhood. The Kronofsky family, though, he always gave them credit. He said they treated him like a human being.

And the other benefit of working for the Kronofsky family is their coal wagon delivered coal to the prostitutes in the red light district of New Orleans, which was later known as Storyville. And, you know, African-American kids could not walk around Storyville unless they were with, um, They're white boss. And so Armstrong had Morris Karnofsky and he was his boss there.

And the other benefit of working for the Kronofsky family is their coal wagon delivered coal to the prostitutes in the red light district of New Orleans, which was later known as Storyville. And, you know, African-American kids could not walk around Storyville unless they were with, um, They're white boss. And so Armstrong had Morris Karnofsky and he was his boss there.

And the other benefit of working for the Kronofsky family is their coal wagon delivered coal to the prostitutes in the red light district of New Orleans, which was later known as Storyville. And, you know, African-American kids could not walk around Storyville unless they were with, um, They're white boss. And so Armstrong had Morris Karnofsky and he was his boss there.

He would stay on the coal cart and Lewis would go around delivering the coal. But this is also the time that the red light district starts bringing in jazz bands. And so this is Armstrong's first time hearing King Oliver and Freddie Keppard and Manuel Perez. And so, you know, there are benefits to this work.

He would stay on the coal cart and Lewis would go around delivering the coal. But this is also the time that the red light district starts bringing in jazz bands. And so this is Armstrong's first time hearing King Oliver and Freddie Keppard and Manuel Perez. And so, you know, there are benefits to this work.

He would stay on the coal cart and Lewis would go around delivering the coal. But this is also the time that the red light district starts bringing in jazz bands. And so this is Armstrong's first time hearing King Oliver and Freddie Keppard and Manuel Perez. And so, you know, there are benefits to this work.

He always had this way of kind of finding the good in these situations, situations that I think if anybody else had lived them or spent their lives talking about them or writing about them would have come off as horror stories. But Armstrong, he always found a lesson that he learned and internalized. And in his mind, everything he did made him a better person.

He always had this way of kind of finding the good in these situations, situations that I think if anybody else had lived them or spent their lives talking about them or writing about them would have come off as horror stories. But Armstrong, he always found a lesson that he learned and internalized. And in his mind, everything he did made him a better person.

He always had this way of kind of finding the good in these situations, situations that I think if anybody else had lived them or spent their lives talking about them or writing about them would have come off as horror stories. But Armstrong, he always found a lesson that he learned and internalized. And in his mind, everything he did made him a better person.

Well, the amazing thing for me is Cornette Chop Suey was the next song recorded after heebie-jeebies. So I always like to make the point that You know, you can name a million great vocalists and a million great instrumentalists and Armstrong's the only person who totally changed the way people sang and he totally changed the way people soloed and played music on their instruments.

Well, the amazing thing for me is Cornette Chop Suey was the next song recorded after heebie-jeebies. So I always like to make the point that You know, you can name a million great vocalists and a million great instrumentalists and Armstrong's the only person who totally changed the way people sang and he totally changed the way people soloed and played music on their instruments.

Well, the amazing thing for me is Cornette Chop Suey was the next song recorded after heebie-jeebies. So I always like to make the point that You know, you can name a million great vocalists and a million great instrumentalists and Armstrong's the only person who totally changed the way people sang and he totally changed the way people soloed and played music on their instruments.

And he really does it. on one day, February 26, 1926. But Cornet Chop Suey was kind of his coming out party to show all the tools in his toolbox of what he could do with his cornet. And so it opens with his dazzling, unaccompanied introduction, just letting everybody know, I'm here, I'm the leader. And then the melody, I was just talking to the great multi-instrumentalist Scott Robinson.

And he really does it. on one day, February 26, 1926. But Cornet Chop Suey was kind of his coming out party to show all the tools in his toolbox of what he could do with his cornet. And so it opens with his dazzling, unaccompanied introduction, just letting everybody know, I'm here, I'm the leader. And then the melody, I was just talking to the great multi-instrumentalist Scott Robinson.

And he really does it. on one day, February 26, 1926. But Cornet Chop Suey was kind of his coming out party to show all the tools in his toolbox of what he could do with his cornet. And so it opens with his dazzling, unaccompanied introduction, just letting everybody know, I'm here, I'm the leader. And then the melody, I was just talking to the great multi-instrumentalist Scott Robinson.

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 for 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.

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 for 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.