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The Anatomy of Improvisation
The context of this solo is important; it follows two choruses of uninspired solo work by a trombonist and clarinetist, both play­ing in slow tempo with a lumpy, thudding four-to-the-bar rhythm background that could as well have been created by a robot. Armstrong, unheard up to this point, steps into this dim scene and illuminates it instantaneously with a four-measure unaccom-