bˌʌt sˈoʊloʊ ˈæftɚ sˈoʊloʊ dˈɛmənstɹˌeɪts ðæt hiː ɪz nˌɑːɾə wˈaɪld plˈeɪɚ: ˈiːtʃ nˈoʊt ɪz pˈɜːfɛktli ʃˈeɪpt ænd pˈɪtʃt æz ɪf ðə kˈɔːɹnɪt wɜː hɪz spˈiːkɪŋ vˈɔɪs, ɪnðə stˈaɪl ʌv hɪz fˈeɪvɚɹᵻts lˈuːi ˈɑːɹmstɹɔŋ ænd bˈɑːbi hˈækɪt, ænd wɪð ɐn ɪmˈoʊʃənəl ɪmˈiːdɪəsi ˈɔːlweɪz hˈɑːɹd tə pˈæɹəlˌɛl.
But solo after solo demonstrates that he is not a 'wild' player: each note is perfectly shaped and pitched as if the cornet were his speaking voice, in the style of his favorites (Louis) Armstrong and (Bobby) Hackett, and with an emotional immediacy always hard to parallel.