HerbThe evolution of a horn is an interesting thing. The cornet was the locus of technical innovation through the 19th c. while the trumpet was still thought of as it was in the Baroque period: a long tube with holes and little else. In 19th c. concert bands-feeder for brass-centric jazz-the cornets played the melody (The star was Herbert Clarke, whose technique books trumpet players still use) and the trumpets essentially played fanfare parts. Trumpet manufacturers began to catch on and applied cornet innovations around the turn of the century, but Jazz was an ensemble music and cornet worked better. Louis and Bix both played the cornet, but eventually, Armstrong stretched the limits of the cornet to the breaking point and switched to trumpet in 1927 for the Hot Seven recordings. The cornet lost ground and never caught up, except for "Dixieland" or "trad" players. For brass doublers, the pendulum swung hard to the hyper-mellow fluegelhorn. Me, I would rather hear a cornet. So, in a bizarre way, Nat, Ruby, Thad and company brought the cornet-trumpet cycle all the way back around. Where once Armstrong broke through the limits of the cornet to get to the trumpet, they did the reverse.