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The Hot Five was Louis Armstrong's first jazz recording band led under his own name. It was a typical New Orleans jazz band in instrumentation, consisting of trumpet, clarinet, and trombone backed by a rhythm section. The original New Orleans jazz style leaned heavily on collective improvisation, where the three horns together played the lead: the trumpet played the main melody, and the clarinet and trombone played improvised accompaniments to the melody. This tradition was continued in the Hot Five, but because of Armstrong's creative gifts as a trumpet player, solo passages where the trumpet played alone began to appear more frequently. In these solos, Armstrong laid down the basic vocabulary of jazz improvising, and became its founding and most influential exponent. The Hot Five was organized at the suggestion of Richard M. Jones for Okeh Records. All their records were made in Okeh's Chicago, Illinois recording studio. The exact same personnel recorded a session made under the pseudonym "Lil's Hotshots" for Vocalion/Brunswick. While the musicians in the Hot Five played together in other contexts, as the Hot Five they were a recording studio band that performed live only for two parties organized by Okeh Records. There were two different groups called "Louis Armstrong and his Hot Five", the first recording from 1925 through 1927 and the second in 1928; Armstrong was the only musician in both groups. == The first Hot Five == The original Hot Five were, other than Armstrong's wife Lil Hardin Armstrong on piano, all New Orleans musicians who Armstrong had worked with in that city in the 1910s: Kid Ory on trombone, Johnny Dodds on clarinet, and Johnny St. Cyr on guitar and banjo. For some or all of the Louis Armstrong and his Hot Seven sides, Ory was in New York City working with King Oliver's band, and was replaced, probably by John Thomas. On one session in December 1927, Lonnie Johnson was added on guitar. The recordings of this group are considered by many to be uneven, with some of the blunders (e.g. the mis-timed hokum at the end of "Heebie Jeebies") becoming notorious in jazz circles, and the solos of Dodds, Ory and Hardin sounding distinctly pedestrian in comparison with Armstrong's. However, the ensemble passages are frequently effective, and the genius of Armstrong's cornet or trumpet playing touch virtually every recording. Some of the more important examples are "Cornet Chop Suey", "Muskrat Ramble", "Hotter Than That" and "Struttin' With Some Barbecue". 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Louis Armstrong and His Hot Five」の詳細全文を読む スポンサード リンク
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