The legendary "Louis Armstrong and His Hot Five" jazz band worked only in studio in order to set new lines to jazz after "King Oliver's Creole jazz Band". In the "Hot Five" with Louis Armstrong there were Johnny Dodds in clarinet, Kid Ory in trombone, Johnny St.Cyr in banjo and Lil Hardin, who later became Louis' wife, in piano. Armstrong himself was the member of that school where masters tried to prevent imitators by hiding the keys of the horn from view with a handkerchief. The band wanted to make itself inimitable and sound different by choosing odd keys for their recordings. To help their own playing in odd keys they used instruments different from traditional ones. E.g. Johnny Dodds used both Bb- and A-clarinets with Albertian fingering. When these masters of that time started to make recordings with their new orchestra they choosed mostly their own compositions to the repertoire. Lil was the master on that purpose having classical schooling. She made the most of the compositions and notation. Patricia A. Martin has in her academic dissertation, "The Solo Style of Jazz Clarinetist Johnny Dodds: 1923-1938", shown that Dodds used his A-clarinet in recording the tunes "Wild Man Blues" and "Melancholy", May 1927. He did it in most part of his recordings during 1926... 1927, too. So it was very easy for him to use odd keys when advisable. When Louis Armstrong's Hot Five made the first recordings, 11.12.1925, Dodds used his A-clarinet. In the original 78-rpm "Cornet Chop Suey" they used key E, which has surprised all specialists for decades. It was impossible for them to realise that key as the truth. On the contrary when moving the material to modern media they have used time to correct the speed up or down in order to make it usable for standard Bb-instruments. There are modifications to Eb- and F-keys without thinking other possible solutions. Armstrong was a real master with his horn playing in any keys, they say. In that special "Cornet Chop Suey" he could have used C-cornet, too. In the many pictures showing Hot Five there were numerous instruments on the stage including several horns and clarinets. Dodds played that tune with A-clarinet, using then key G, which was the most used key in his repertoire overall. The fact if Louis used C- or Bb-horn I have never seen in speculations. The recordings Hot Five made on those years remained unique for just that key reason. The sound and performance was inimitable. In the following Okeh-recording sessions it was very likely that Johnny Dodds used A-clarinet. After the name of the composition is the key in brackets the band used. 11.12.1925: "My Heart" (D), "Yes, I'm In The Barrel" (E), "Gut Bucket Blues" (B) 02.22.1926: "Come Back Sweet Papa" (B) 02.25.1926: "Georgia Grind" (D), "Heebie Jeebies" (G), "Cornet Chop Suey" (E), "Oriental Strut" (E), "You're Next" (E), "Muskrat Ramble" (G) 06.16.1926: "Don't Forget To Mess Around" (G), "I'm Gonna Gitcha" (E), "Droppin' Shucks" (B), "Who'sit" (B) 06.23.1926: "King Of The Zulus" (Em), "Big Fat Ma And Skinny Pa" (D), "Lonesome Blues" (A), "Sweet Little Papa" (E) 09.02.1926: "Put 'Em Down Blues" (G) 11.27.1926: "You Made Me Love You" (B), "Irish Black Bottom" (E) 12.10.1927: "Once In A While" (B), "I'm Not Rough" (G) 12.13.1927: "Hotter Than That" (D), "Savoy Blues" (G) On all these tunes there has been uncertainty of the real key. Cd-records include different choices and in the text specialists try to lead listeners to believe those choices. Except for "King Of The Zulus", "Put 'Em Down Blues" and "Savoy Blues", all the tunes in the cd collection, "Louis Armstrong: The complete Hot Five and Hot Seven Recordings", are half-tone too fast due the wrong presumption of using only Bb-instruments. That makes those tunes too hectic and untrue to life. When these recordings were reissued on cd-records there was an inconvenience of 80-rpm records, too. That thing could also have contributed to false pitches. Okeh studio was quite oldfashined and the recording system used worn with years equipment and changed to electrical recording only in 1927. The specialists happened not to think that using odd keys was intentional and not to be playable with normal Bb-instruments! In my Dodds' mp3-collection I have used the right ones and they sound marvellous!