Ricky Riccardi

Well, he takes a three-chorus solo. It's his longest solo on record. And to me, he opens off, I kind of jokingly refer to it as Cantor Louis Armstrong. It's like, you know, this minor keyed song, and he opens almost like he's blowing the shofar. And so, you know, the influence of the Kronofsky family is immediately right there. Then there's comedy.

Well, he takes a three-chorus solo. It's his longest solo on record. And to me, he opens off, I kind of jokingly refer to it as Cantor Louis Armstrong. It's like, you know, this minor keyed song, and he opens almost like he's blowing the shofar. And so, you know, the influence of the Kronofsky family is immediately right there. Then there's comedy.

Well, he takes a three-chorus solo. It's his longest solo on record. And to me, he opens off, I kind of jokingly refer to it as Cantor Louis Armstrong. It's like, you know, this minor keyed song, and he opens almost like he's blowing the shofar. And so, you know, the influence of the Kronofsky family is immediately right there. Then there's comedy.

You know, people always said, you know, well, Armstrong can mug and fool around. But when he picked up the horn, that's when he was serious. Well, to an extent, but he was also very funny on the trumpet. And so there was something called the Streets of Cairo, which is interesting. known as the Snake Charmer song. And so he takes that and turns it into a musical quote.

You know, people always said, you know, well, Armstrong can mug and fool around. But when he picked up the horn, that's when he was serious. Well, to an extent, but he was also very funny on the trumpet. And so there was something called the Streets of Cairo, which is interesting. known as the Snake Charmer song. And so he takes that and turns it into a musical quote.

You know, people always said, you know, well, Armstrong can mug and fool around. But when he picked up the horn, that's when he was serious. Well, to an extent, but he was also very funny on the trumpet. And so there was something called the Streets of Cairo, which is interesting. known as the Snake Charmer song. And so he takes that and turns it into a musical quote.

And of course, you know, the hip hop world now, they call it sampling, but this was something Armstrong brought to the jazz world of taking a preexisting melody and incorporating it into his improvisation. And it's funny, but he also really makes a meal out of it, stretching it out and everything. Meanwhile, the band in the background, they turn

And of course, you know, the hip hop world now, they call it sampling, but this was something Armstrong brought to the jazz world of taking a preexisting melody and incorporating it into his improvisation. And it's funny, but he also really makes a meal out of it, stretching it out and everything. Meanwhile, the band in the background, they turn

And of course, you know, the hip hop world now, they call it sampling, but this was something Armstrong brought to the jazz world of taking a preexisting melody and incorporating it into his improvisation. And it's funny, but he also really makes a meal out of it, stretching it out and everything. Meanwhile, the band in the background, they turn

They're backing into kind of a Spanish rhythm, what Jelly Roll Morton called the Spanish tinge. And, of course, that's another ingredient of the New Orleans sound, the Cuban influence, Afro-Cuban influence, all that. So all these different things, comedy, the Jewish influence, New Orleans influence, everything that he had heard is all coming together.

They're backing into kind of a Spanish rhythm, what Jelly Roll Morton called the Spanish tinge. And, of course, that's another ingredient of the New Orleans sound, the Cuban influence, Afro-Cuban influence, all that. So all these different things, comedy, the Jewish influence, New Orleans influence, everything that he had heard is all coming together.

They're backing into kind of a Spanish rhythm, what Jelly Roll Morton called the Spanish tinge. And, of course, that's another ingredient of the New Orleans sound, the Cuban influence, Afro-Cuban influence, all that. So all these different things, comedy, the Jewish influence, New Orleans influence, everything that he had heard is all coming together.

And eventually it all builds to this climax where he is wailing in the upper register. High notes, opera, Enrico Caruso, everything he learned from buying opera records as a teenager, it's all coming out of his trumpet. And I make the point that this three-chorus solo, the way it builds and builds and builds, it starts off so slow and quiet, and by the end, it's like this roof-shaking climax.

And eventually it all builds to this climax where he is wailing in the upper register. High notes, opera, Enrico Caruso, everything he learned from buying opera records as a teenager, it's all coming out of his trumpet. And I make the point that this three-chorus solo, the way it builds and builds and builds, it starts off so slow and quiet, and by the end, it's like this roof-shaking climax.

And eventually it all builds to this climax where he is wailing in the upper register. High notes, opera, Enrico Caruso, everything he learned from buying opera records as a teenager, it's all coming out of his trumpet. And I make the point that this three-chorus solo, the way it builds and builds and builds, it starts off so slow and quiet, and by the end, it's like this roof-shaking climax.

That's the blueprint for all kind of extended solos. And in the book, I just use guitarists, but Jimmy Hendrix, Eddie Van Halen, it's the blueprint. It doesn't even have to be jazz. Anybody who is improvising, taking a solo, starting off quietly, building and building and building, and boom, here's the big high-note ending. they're all taking a page out of tight like this.

That's the blueprint for all kind of extended solos. And in the book, I just use guitarists, but Jimmy Hendrix, Eddie Van Halen, it's the blueprint. It doesn't even have to be jazz. Anybody who is improvising, taking a solo, starting off quietly, building and building and building, and boom, here's the big high-note ending. they're all taking a page out of tight like this.

That's the blueprint for all kind of extended solos. And in the book, I just use guitarists, but Jimmy Hendrix, Eddie Van Halen, it's the blueprint. It doesn't even have to be jazz. Anybody who is improvising, taking a solo, starting off quietly, building and building and building, and boom, here's the big high-note ending. they're all taking a page out of tight like this.

So to me, this is Louis Armstrong's life up to 1928 in three minutes.

So to me, this is Louis Armstrong's life up to 1928 in three minutes.