This study examines Armstrong's cornet and trumpet work during his most innovative period, 1923-1928, with a view to laying bare the sources of some of the impluses which contribute to the great outburst of emotion and variety of styles that inform that work. Analysis of the styles of contemporaries such as Bunk Johnson, King Oliver, Sidney Bechet, Bessie Smith, Bix Beiderbecke, Earl Hines and others reveals characteristics which affected Armstrong. Influences such as white bands, opera and radion, minor modality, other compositions and the desire for anonymity are also treated. The study identifies influential passages as reflected in specific aspects of his playing. A concluding chapter considers an Armstrong cornet solo in a more holistic fashion - a scrutiny of his manner of integrating influence, with self-reverance and original material, in an extended passage.
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