Editing Louis Armstrong (section)

===The Hot Five===
In 1925, Armstrong returned to Chicago largely at the insistence of Lil, who wanted to expand his career and income. In publicity, much to his chagrin, she billed Armstrong as "The World's Greatest Trumpet Player." For a time, he was a member of the Lil Hardin Armstrong Band and worked for his wife.<ref>Bergreen (1997), p. 260.</ref> Armstrong formed [[Louis Armstrong and his Hot Five]] and recorded the hits "[[Potato Head Blues]]" and "Muggles". The word "muggles" was a [[List of slang names for cannabis|slang term for marijuana]], something Armstrong often used during his life.<ref name="Collier">{{cite book |last1=Collier |first1=James Lincoln |author-link=James Lincoln Collier |title=Louis Armstrong: An American Genius |date=1983 |publisher=Oxford University Press |location=New York |isbn=978-0195033779 |page=[https://archive.org/details/louisarmstro00jam/page/324 324] |url=https://archive.org/details/louisarmstro00jam |url-access=registration }}</ref>

[[File:Heebie Jeebies.jpg|thumb|upright|"[[Heebie Jeebies (composition)|Heebie Jeebies]]" by Louis Armstrong and his Hot Five, 1926]]

The Hot Five included [[Kid Ory]] (trombone), [[Johnny Dodds]] (clarinet), [[Johnny St. Cyr]] (banjo), Lil Armstrong on piano, and usually no drummer. Over a 12-month period starting in November 1925, this quintet produced twenty-four records.<ref name="harker">{{cite book|last=Harker|first=Brian|title=Louis Armstrong's Hot Five and Hot Seven Recordings |publisher=Oxford University Press|year=2011|location=Oxford|pages=4{{endash}}5|isbn=978-0195388404}}</ref> Armstrong's band leading style was easygoing, as St. Cyr noted: "One felt so relaxed working with him, and he was very broad-minded ... always did his best to feature each individual."<ref>Bergreen (1997), p. 274.</ref>

Among the Hot Five and Seven records were "Cornet Chop Suey", "Struttin' With Some Barbecue", "Hotter Than That", and "Potato Head Blues", all featuring highly creative solos by Armstrong. According to [[Thomas Brothers]], recordings such as "Struttin' with Some Barbeque" were so superb, "planned with density and variety, bluesyness, and showiness", that the arrangements were probably showcased at the Sunset Café.<ref>{{Cite book|last=Brothers|first=Thomas|title=Louis Armstrong: Master of Modernism|publisher=W.W. Norton & Company|year=2014|isbn=978-0393065824|location=New York|page=282}}</ref> His recordings soon after with pianist [[Earl Hines|Earl "Fatha" Hines]], their famous 1928 "[[Weather Bird]]" duet and Armstrong's trumpet introduction to and solo in "[[West End Blues]]", remain some of the most influential improvisations in jazz history. Young trumpet players across the country bought these recordings and memorized his solos.

Armstrong was now free to develop his style as he wished, which included a heavy dose of effervescent jive, such as "Whip That Thing, Miss Lil" and "Mr. Johnny Dodds, Aw, Do That Clarinet, Boy!"<ref>Bergreen (1997), p. 264.</ref>

Armstrong also played with [[Erskine Tate]]'s Little Symphony, mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as "[[Madame Butterfly]]", which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began [[scat singing]] (improvised vocal jazz using nonsensical words) and was among the first to record it on the Hot Five recording "[[Heebie Jeebies (composition)|Heebie Jeebies]]" in 1926. The recording was so popular that the group became the most famous jazz band in the United States, even though they had seldom performed live. Young musicians across the country, black or white, were turned on by Armstrong's new type of jazz.<ref>Bergreen (1997), p. 267.</ref>

After separating from Lil, Armstrong started to play at the [[Sunset Cafe|Sunset Café]] for [[Al Capone]]'s associate [[Joe Glaser]] in the [[Carroll Dickerson]] Orchestra, with Earl Hines on piano, which was renamed Louis Armstrong and his Stompers.<ref>{{cite book|last=Collier|first=James Lincoln |author-link=James Lincoln Collier| title=Louis Armstrong | publisher=Pan Books | year=1985|isbn=978-0330286077|pages=160–162}}</ref> However, Hines was the music director, and Glaser managed the orchestra. Hines and Armstrong became fast friends and successful collaborators. It was at the [[Sunset Cafe|Sunset Café]] that Armstrong accompanied singer [[Adelaide Hall]]. During Hall's tenure at the venue, she experimented, developed, and expanded her scat singing with Armstrong's guidance and encouragement.<ref>Williams, Iain Cameron [http://www.bloomsbury.com/us/underneath-a-harlem-moon-9780826458933/ ''Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall''] {{Webarchive|url=https://web.archive.org/web/20210226182123/https://www.bloomsbury.com/us/underneath-a-harlem-moon-9780826458933/ |date=February 26, 2021 }}. Bloomsbury Publishers, 2002. {{ISBN|0826458939}}. {{oclc|51780394}}</ref>

In the first half of 1927, Armstrong assembled his Hot Seven group, which added drummer Al "Baby" Dodds and tuba player [[Pete Briggs]] while preserving most of his original Hot Five lineup. John Thomas replaced Kid Ory on the trombone. Later that year, Armstrong organized a series of new Hot Five sessions, which resulted in nine more records. In the last half of 1928, he started recording with a new group: [[Zutty Singleton]] (drums), Earl Hines (piano), [[Jimmy Strong (musician)|Jimmy Strong]] (clarinet), Fred Robinson (trombone), and Mancy Carr (banjo).<ref>Harker (2011), p. 145.</ref>